Inside Independent Horror: Gare-Scare on Filmmaking & Hishkenstien: After Dark の全文書き起こし

00:04:05.110 recently I interviewed, I was having a collaboration 00:04:05.110 --> 00:04:08.710 with Jenny from The Crib. She's a podcaster from 00:04:08.710 --> 00:04:12.280 Spain and she's a horror content creator. And 00:04:12.280 --> 00:04:14.960 her and her sister were diagnosed with adult 00:04:14.960 --> 00:04:19.680 ADHD. And, you know, they don't make it their 00:04:19.680 --> 00:04:23.300 personality, but they take what they know and, 00:04:23.319 --> 00:04:26.680 you know, what they go through and apply it to 00:04:26.680 --> 00:04:29.720 horror. So it was a very interesting take that 00:04:29.720 --> 00:04:33.939 it's like, we have this diagnosis. But this is 00:04:33.939 --> 00:04:36.720 not who we are. And we can enjoy horror, but 00:04:36.720 --> 00:04:39.779 when we're enjoying horror, we are looking at 00:04:39.779 --> 00:04:43.379 it from this perspective of ADHD. And it was 00:04:43.379 --> 00:04:45.959 such an interesting idea. And that's why I sat 00:04:45.959 --> 00:04:49.500 down to talk to her. And I do love people who 00:04:49.500 --> 00:04:54.000 not just want to bring back older films, but 00:04:54.000 --> 00:04:57.439 at least present them to a new audience. And 00:04:57.439 --> 00:04:59.259 that's something that I always applaud because 00:04:59.259 --> 00:05:02.149 a lot of people just... go by what's new and 00:05:02.149 --> 00:05:04.529 especially younger people are the ones doing 00:05:04.529 --> 00:05:07.269 this i feel like other other people just kind 00:05:07.269 --> 00:05:11.189 of gave up absolutely and i think that you know 00:05:11.189 --> 00:05:14.589 that sentiment is something i hope that a lot 00:05:14.589 --> 00:05:17.930 of people can kind of i guess see or connect 00:05:17.930 --> 00:05:21.310 with because a lot of these older films you know 00:05:21.310 --> 00:05:24.170 they might have more of a sentimental value to 00:05:24.170 --> 00:05:27.220 people And to me, it kind of ties back to why 00:05:27.220 --> 00:05:29.660 I like film to begin with, because film is like 00:05:29.660 --> 00:05:33.120 it's a time capsule. So, you know, you're creating 00:05:33.120 --> 00:05:35.720 something in one period of time. It's going to 00:05:35.720 --> 00:05:37.959 sit there and it'll represent whatever the fears, 00:05:38.160 --> 00:05:40.300 you know, with that, you know, current zeitgeist 00:05:40.300 --> 00:05:42.040 or whatever people are going through. Or, you 00:05:42.040 --> 00:05:43.959 know, if it's something political, you know, 00:05:43.959 --> 00:05:45.899 like the movie Network in the 70s, like what 00:05:45.899 --> 00:05:50.040 people were feeling post Watergate, for instance, 00:05:50.259 --> 00:05:52.759 or movies like Red Dawn during the Cold War. 00:05:53.500 --> 00:05:57.899 in the 1980s so i think that like you know these 00:05:57.899 --> 00:05:59.879 films will come back and they'll find ways of 00:05:59.879 --> 00:06:02.319 being appreciated somehow again in the future 00:06:02.319 --> 00:06:04.060 you know it's like when i talk about how history 00:06:04.060 --> 00:06:07.600 repeats itself and finds new ways of becoming 00:06:07.600 --> 00:06:11.180 more relevant as time goes on uh especially silent 00:06:11.180 --> 00:06:15.000 films uh i have the most fun with like wanting 00:06:15.000 --> 00:06:18.360 to re -watch and represent silent films There 00:06:18.360 --> 00:06:20.319 is something that I'm currently working on that 00:06:20.319 --> 00:06:23.360 is a very large project that involves a silent 00:06:23.360 --> 00:06:25.339 film that I cannot wait to share with people. 00:06:26.779 --> 00:06:29.699 But yeah, to me, it's like, how can that not 00:06:29.699 --> 00:06:33.939 just be repackaged, but how can it mean something 00:06:33.939 --> 00:06:37.639 to people today? And that's why I'm not totally 00:06:37.639 --> 00:06:40.959 against all movie remakes. I think there's some 00:06:40.959 --> 00:06:43.459 really good remakes that have something to say. 00:06:44.160 --> 00:06:46.560 When coming out again, we would never have something 00:06:46.560 --> 00:06:49.339 like John Carpenter's The Thing akin to The Thing 00:06:49.339 --> 00:06:51.899 from Another World. Those are both different 00:06:51.899 --> 00:06:55.500 movies of different times, very similar. Even 00:06:55.500 --> 00:06:58.519 Evil Dead and Evil Dead 2013, they came out at 00:06:58.519 --> 00:07:01.639 different times. Evil Dead 1981 is very much 00:07:01.639 --> 00:07:03.899 a campy cult movie, and then you have the 2013 00:07:03.899 --> 00:07:06.500 one, which is almost like walking into a live 00:07:06.500 --> 00:07:08.959 -action black metal album cover. It's like they 00:07:08.959 --> 00:07:10.860 have different aesthetics, different feelings. 00:07:11.959 --> 00:07:13.939 i'm not totally against it i just think is if 00:07:13.939 --> 00:07:16.060 if it's kept relevant and it makes sense and 00:07:16.060 --> 00:07:17.519 it means something to that future generation 00:07:17.519 --> 00:07:20.959 then the movie and the art is going to find a 00:07:20.959 --> 00:07:25.180 way to live on so yeah basically you your knowledge 00:07:25.180 --> 00:07:28.949 of a film is pretty good because we were talking 00:07:28.949 --> 00:07:31.129 earlier before we started recording and bringing 00:07:31.129 --> 00:07:33.769 up the network is a good example of some i don't 00:07:33.769 --> 00:07:36.230 think the network should be done uh remade just 00:07:36.230 --> 00:07:38.029 because it still kind of reflects the society 00:07:38.029 --> 00:07:41.089 we are today so i don't think some of those films 00:07:41.089 --> 00:07:44.069 need a remake necessarily they they still hold 00:07:44.069 --> 00:07:48.509 up but you as a filmmaker what was the moment 00:07:48.509 --> 00:07:52.610 or what was the movie that made you want to create 00:07:52.610 --> 00:07:58.350 films um It's tricky because I would say it started 00:07:58.350 --> 00:08:01.750 as early on when my dad showed me

Jaws when I 00:08:01.750 --> 00:08:04.350 was three years old and my mom was insanely angry 00:08:04.350 --> 00:08:08.769 at him for it. That's good parenting. Well, my 00:08:08.769 --> 00:08:11.769 dad knew that I loved the ocean and because my 00:08:11.769 --> 00:08:14.209 dad is a commercial fisherman in Alaska for a 00:08:14.209 --> 00:08:17.149 really long time. and he knew how much i loved 00:08:17.149 --> 00:08:20.310 sharks and you know he wasn't thinking it wasn't 00:08:20.310 --> 00:08:22.269 like a big deal and to me it's like apparently 00:08:22.269 --> 00:08:24.569 it was pretty traumatizing to me back then that's 00:08:24.569 --> 00:08:26.269 what they both say but i don't remember that 00:08:26.269 --> 00:08:29.629 but to me it's like jaws ever since like i was 00:08:29.629 --> 00:08:31.610 a kid has been something that has just been like 00:08:31.610 --> 00:08:35.730 so personal and close to me because i love nautical 00:08:35.730 --> 00:08:39.269 stories i don't just love like horror you know 00:08:39.269 --> 00:08:42.149 slasher all that like to me like uh what made 00:08:42.149 --> 00:08:46.490 me want to get into film is like monster movies 00:08:46.490 --> 00:08:48.789 you know and to me it's not even about horror 00:08:48.789 --> 00:08:52.769 because horror to me sometimes loses it when 00:08:52.769 --> 00:08:56.049 it loses the fact that it's still a movie I like 00:08:56.049 --> 00:08:58.230 movies that know that they're movies and I don't 00:08:58.230 --> 00:09:00.529 particularly like watching films that are like 00:09:00.529 --> 00:09:05.409 cruel or have like torture or really gross stuff 00:09:05.409 --> 00:09:09.049 in it you know like irreversible like Serbian 00:09:09.049 --> 00:09:11.610 film or stuff like that you know that's not for 00:09:11.610 --> 00:09:14.730 me I don't even really like to about as far as 00:09:14.730 --> 00:09:17.750 i can go in that direction like saw maybe but 00:09:17.750 --> 00:09:19.750 like even for me like those movies sometimes 00:09:19.750 --> 00:09:23.129 can be too much like to me i'm more like i really 00:09:23.129 --> 00:09:26.309 love like the classic monster stuff like i love 00:09:26.309 --> 00:09:30.009 the universal monsters i love um the giant gila 00:09:30.009 --> 00:09:33.549 monster an american werewolf in london uh the 00:09:33.549 --> 00:09:37.059 howling you know salem's lot uh and you know 00:09:37.059 --> 00:09:39.720 even like the 50s you know like the green slime 00:09:39.720 --> 00:09:43.860 or tarantula frankenstein meets the wolfman like 00:09:43.860 --> 00:09:46.840 that's more me what speaks to me as a filmmaker 00:09:46.840 --> 00:09:48.399 and what makes me want to create because those 00:09:48.399 --> 00:09:51.620 are you know their experiences their movies their 00:09:51.620 --> 00:09:55.799 shows and to me like going to a film and being 00:09:55.799 --> 00:09:58.039 a filmmaker being a creator i don't think a lot 00:09:58.039 --> 00:09:59.379 of people

see it this way and that's totally 00:09:59.379 --> 00:10:02.159 fine but from my perspective i think your number 00:10:02.159 --> 00:10:05.620 one priority instead of inserting yourself or 00:10:05.620 --> 00:10:08.159 inserting some kind of message or you know having 00:10:08.159 --> 00:10:10.159 some kind of statement which you know like i 00:10:10.159 --> 00:10:12.960 said this is just my sentiment if somebody is 00:10:12.960 --> 00:10:15.720 paying to go see something you're creating right 00:10:15.720 --> 00:10:19.740 your number one goal should be to entertain first 00:10:19.740 --> 00:10:23.159 off my opinion is to entertain because like kind 00:10:23.159 --> 00:10:24.779 of like you know you see some guy that you know 00:10:24.779 --> 00:10:26.759 ringleader that runs a circus you've ran a bad 00:10:26.759 --> 00:10:30.100 circus right the animals all get out um the clowns 00:10:30.100 --> 00:10:32.440 are slipping and falling on their faces and not 00:10:32.440 --> 00:10:34.659 in a fun way you know and just the you know there's 00:10:34.659 --> 00:10:37.519 no organization and the guy you know catches 00:10:37.519 --> 00:10:39.620 himself on fire jumping from the fire hoop it's 00:10:39.620 --> 00:10:42.440 it's a mess right so you have you ran a bad show 00:10:42.440 --> 00:10:44.779 so i think the same thing is kind of like if 00:10:44.779 --> 00:10:46.919 you're setting out to make a movie and nobody's 00:10:46.919 --> 00:10:49.379 entertained everybody's bored uh everybody's 00:10:49.379 --> 00:10:51.740 miserable everybody's disgusted to me it's like 00:10:51.740 --> 00:10:54.519 there's a happy medium there's a happy balance 00:10:54.519 --> 00:10:57.600 and there's a way to do that while still being 00:10:58.059 --> 00:11:00.259 a movie at the end of the day. It's still a show. 00:11:00.480 --> 00:11:03.799 It's the greatest industry in the world. Honored 00:11:03.799 --> 00:11:08.059 that and creating something cool, I guess. Not 00:11:08.059 --> 00:11:10.399 to sound pretentious. I hope I don't sound pretentious. 00:11:10.639 --> 00:11:14.320 I feel like going with Universal Monsters, a 00:11:14.320 --> 00:11:19.639 lot of filmmakers do kind of like go back to 00:11:19.639 --> 00:11:24.179 that era. And it's not just because of, I would 00:11:24.179 --> 00:11:26.779 say, because they're Universal Monsters and they're 00:11:26.779 --> 00:11:30.549 a classic. I feel it's also the way that things 00:11:30.549 --> 00:11:33.789 were made. At least for me, it's like, you know, 00:11:33.789 --> 00:11:36.409 you have these big sets and you have this big 00:11:36.409 --> 00:11:39.669 production quality and the makeup and the costuming. 00:11:39.850 --> 00:11:42.789 And yeah, sometimes the scripts were here and 00:11:42.789 --> 00:11:45.409 there, you know, not all of them are, you know, 00:11:45.470 --> 00:11:48.330 Academy Award winning screenplays. But, you know, 00:11:48.330 --> 00:11:51.889 most of them, there's that atmosphere that you 00:11:51.889 --> 00:11:54.769 don't get in a lot of films today. Oh, yeah. 00:11:55.210 --> 00:12:00.049 I feel like now. Uh, 2026 is probably the one 00:12:00.049 --> 00:12:02.629 year that I would say kind of stands out in horror 00:12:02.629 --> 00:12:06.110 because I feel like not just the new filmmakers, 00:12:06.330 --> 00:12:10.269 um, but it's also not oversaturated with remakes 00:12:10.269 --> 00:12:13.269 or sequels and you get to see a different quality 00:12:13.269 --> 00:12:16.309 of horror and different ideas of horror too, 00:12:16.409 --> 00:12:20.059 because, uh, who would have thought that? Horror 00:12:20.059 --> 00:12:24.120 could be you're recording a podcast and there's 00:12:24.120 --> 00:12:27.480 shit going on around your house and you're looking 00:12:27.480 --> 00:12:31.539 for where the sound is coming from. And if you're 00:12:31.539 --> 00:12:35.399 ever listening to a movie or listen to something 00:12:35.399 --> 00:12:38.419 on your headset and you hear something within 00:12:38.419 --> 00:12:39.879 the song and you're like, wait, was that inside 00:12:39.879 --> 00:12:43.240 my house? So there's different ideas coming up 00:12:43.240 --> 00:12:46.629 that really have. made 2026 at least for me even 00:12:46.629 --> 00:12:48.529 though if the movie was good or bad that that 00:12:48.529 --> 00:12:51.809 has nothing to do with the point but it is more 00:12:51.809 --> 00:12:54.990 the ideas the new ideas that are being created 00:12:54.990 --> 00:12:59.090 today and you can just go back to like the 1930s 00:12:59.090 --> 00:13:03.070 with all these films that you know became legend 00:13:03.070 --> 00:13:07.350 basically i i know damn well that anything that 00:13:07.350 --> 00:13:10.129 i'll create because i just know that it's just 00:13:10.129 --> 00:13:12.289 what I like to do. It's subjective and, you know, 00:13:12.309 --> 00:13:13.690 about half the room is going to like it and the 00:13:13.690 --> 00:13:15.750 other half probably going to hate it, you know, 00:13:15.750 --> 00:13:18.250 but it's the same thing with, with film, you 00:13:18.250 --> 00:13:20.309 know, I think it's, it's designed to be subjective. 00:13:20.450 --> 00:13:22.389 I think if you set out to please everybody in 00:13:22.389 --> 00:13:25.669 the room, it no longer starts to feel fully like 00:13:25.669 --> 00:13:27.730 art. But like I said, it's still, you know, you're 00:13:27.730 --> 00:13:30.090 still your responsibility to be somehow entertaining, 00:13:30.269 --> 00:13:34.429 you know? So, so entertain, entertain, dance 00:13:34.429 --> 00:13:39.259 puppet. You know, I would say, I would say just 00:13:39.259 --> 00:13:42.779 keep creating because you never know what's going 00:13:42.779 --> 00:13:45.879 to hit and you know, what's going to flop. So 00:13:45.879 --> 00:13:47.700 at the end of the day, you just have to be creative 00:13:47.700 --> 00:13:50.720 and you just got to keep creating because if 00:13:50.720 -->

00:13:53.259 you're going to be bothered by every criticism, 00:13:53.419 --> 00:13:56.019 you're in the wrong industry. You really are 00:13:56.019 --> 00:13:58.360 in the wrong industry. You need a thicker stack 00:13:58.360 --> 00:14:00.919 for that because you got to get used to being 00:14:00.919 --> 00:14:03.659 told no. I'll definitely. Yeah. Or get doors 00:14:03.659 --> 00:14:05.759 slammed in your faces or people tell you that 00:14:05.759 --> 00:14:08.659 what you do is terrible. Or just also just get 00:14:08.659 --> 00:14:10.580 used to like, you can't always be friends with 00:14:10.580 --> 00:14:12.360 everybody too. That's the hard part is like, 00:14:12.399 --> 00:14:15.000 you're going to piss people off along the way. 00:14:15.039 --> 00:14:17.120 Cause that's the thing. It's like when you also 00:14:17.120 --> 00:14:19.000 work with different people, it's like learning 00:14:19.000 --> 00:14:21.120 how to work with different working styles too. 00:14:21.639 --> 00:14:23.700 You know, like sometimes you might work too fast 00:14:23.700 --> 00:14:25.679 for people or sometimes somebody's working speed. 00:14:26.919 --> 00:14:29.600 might not drive with yours or let's say like 00:14:29.600 --> 00:14:31.700 somebody's acting you know the way that they 00:14:31.700 --> 00:14:34.460 act on set might rock with you and it might not 00:14:34.460 --> 00:14:36.279 rock with you you know and it's kind of like 00:14:36.279 --> 00:14:38.100 it's almost like if you room with like your best 00:14:38.100 --> 00:14:39.539 friend like you get a roommate with your best 00:14:39.539 --> 00:14:41.539 friend and you discover like oh like can we room 00:14:41.539 --> 00:14:43.419 together you know it's just the same thing with 00:14:43.419 --> 00:14:45.139 like working with people in the industry like 00:14:45.139 --> 00:14:49.980 oh um man like i don't disrespect i don't not 00:14:49.980 --> 00:14:51.919 like you as a person but like i don't think i 00:14:51.919 --> 00:14:53.950 can work with you you know and then that might 00:14:53.950 --> 00:14:58.269 bother people you know so it's just uh you got 00:14:58.269 --> 00:15:01.690 to get used to um being okay with who you are 00:15:01.690 --> 00:15:04.450 and being okay to the best of your ability of 00:15:04.450 --> 00:15:06.909 with what you do and moving forward with it and 00:15:06.909 --> 00:15:09.029 you know just maintaining that confidence you 00:15:09.029 --> 00:15:12.929 are a young filmmaker uh what was the one thing 00:15:12.929 --> 00:15:16.730 that surprised you uh filmmaking when you started 00:15:16.730 --> 00:15:22.679 i would say maybe the idea of people wanting 00:15:22.679 --> 00:15:25.120 to be a part of like franchises you know and 00:15:25.120 --> 00:15:29.860 that's to me it's more like about the creation 00:15:29.860 --> 00:15:31.799 of something new i mean i get wanting to be a 00:15:31.799 --> 00:15:33.539 part of franchises i would love there's plenty 00:15:33.539 --> 00:15:35.879 of movies i would love to you know have my own 00:15:35.879 --> 00:15:40.419 twist on but i think uh being a young filmmaker 00:15:40.419 --> 00:15:42.720 like rather than just like wanting to jump onto 00:15:42.720 --> 00:15:44.519 something you know that's been pre -established 00:15:44.519 --> 00:15:47.039 i think it's cooler to do your own thing and 00:15:47.039 --> 00:15:49.679 make your own mark first i guess versus like 00:15:49.679 --> 00:15:53.059 jumping in to something else but i guess that's 00:15:53.059 --> 00:15:55.860 the only really like surprising thing other than 00:15:55.860 --> 00:15:59.139 you know it's really hard people will either 00:15:59.139 --> 00:16:01.879 like not appreciate or respect the fact that 00:16:01.879 --> 00:16:03.940 you choose to do this at all and just kind of 00:16:03.940 --> 00:16:05.960 think that like wow like why the fuck would you 00:16:05.960 --> 00:16:08.919 do that like that's a terrible idea versus like 00:16:08.919 --> 00:16:13.240 um just supportive people and you'll be surprised 00:16:13.240 --> 00:16:15.019 to the people that do stick around and support 00:16:15.019 --> 00:16:17.649 you versus the people that kind of distance themselves 00:16:17.649 --> 00:16:20.909 from you once you uh start really chasing what 00:16:20.909 --> 00:16:24.330 you love so yeah no there's always a people that 00:16:24.330 --> 00:16:28.049 didn't believe in you from the beginning and 00:16:28.919 --> 00:16:31.399 They kind of just, you know, brush you away and 00:16:31.399 --> 00:16:33.779 then you start working on things. And then all 00:16:33.779 --> 00:16:35.639 of a sudden the DMs start coming in and you're 00:16:35.639 --> 00:16:39.720 like, wait, didn't you not want to, you know, 00:16:39.720 --> 00:16:42.000 work before? And now it's like, all of a sudden 00:16:42.000 --> 00:16:43.879 it's like, oh yeah, by the way, I had this idea. 00:16:44.700 --> 00:16:47.179 And I'm like, yeah, sure. Send it to somebody 00:16:47.179 --> 00:16:50.519 else. That's when the transactional relationship 00:16:50.519 --> 00:16:53.200 vibes start to kick in and you realize, was I 00:16:53.200 --> 00:16:54.899 ever really friends with this person to begin 00:16:54.899 --> 00:16:57.970 with? I don't know. But, you know, don't be bitter. 00:16:58.110 --> 00:16:59.610 It's best to just kind of, you know, continue 00:16:59.610 --> 00:17:01.389 to do your thing. It's up to you whether you 00:17:01.389 --> 00:17:03.210 want to say yes or no to work with that person 00:17:03.210 --> 00:17:08.710 again. How's the perspective of watching a film 00:17:08.710 --> 00:17:11.390 now as a filmmaker? Do you sit there and you're 00:17:11.390 --> 00:17:13.509 like, well, I can do this take better than... 00:17:13.509 --> 00:17:16.069 Has it changed your perspective when you're watching 00:17:16.069 --> 00:17:19.250 a movie now? Not really. I mean, honestly, it's... 00:17:19.819 --> 00:17:22.180 filmmaking is always like the movie

magic has 00:17:22.180 --> 00:17:24.359 always stayed intact for me. You know, it's the 00:17:24.359 --> 00:17:27.579 same way of like, I think in order to watch movies 00:17:27.579 --> 00:17:30.740 and create movies, like your imagination, if 00:17:30.740 --> 00:17:32.339 you're, especially if you're somebody who writes 00:17:32.339 --> 00:17:35.539 or directs films or is in any part of that, your 00:17:35.539 --> 00:17:38.839 imagination is kind of what pilots the plane. 00:17:39.640 --> 00:17:42.039 So it's really easy for you to kind of slip away 00:17:42.039 --> 00:17:45.059 and escape and do a film. I'd say like, of course, 00:17:45.119 --> 00:17:47.279 like things that might bother me like from a 00:17:47.279 --> 00:17:49.099 film before, you know, where it's like something's 00:17:49.099 --> 00:17:52.700 really impactful. It's still impactful. But like 00:17:52.700 --> 00:17:55.279 if I ever like am truly bothered by something, 00:17:55.420 --> 00:17:57.900 I get to like pause and be like, huh, let me 00:17:57.900 --> 00:17:59.920 escape from this scene for a minute and be like, 00:17:59.980 --> 00:18:03.380 I wonder how they did that. Hmm. You know, I 00:18:03.380 --> 00:18:05.359 wonder how they pulled this effect off or I wonder 00:18:05.359 --> 00:18:07.799 how this actor got to this level of emotional 00:18:07.799 --> 00:18:11.910 intensity. right so yeah yeah you'd like to uh 00:18:11.910 --> 00:18:14.609 quentin tarantino the film it's like no this 00:18:14.609 --> 00:18:17.990 is not a a one shot you see how there's an edit 00:18:17.990 --> 00:18:20.960 here dude shut the hell up shut the hell up i 00:18:20.960 --> 00:18:23.559 thought it was a one shot it was uh 1917 i think 00:18:23.559 --> 00:18:26.140 it was uh that had the very long shot and he's 00:18:26.140 --> 00:18:28.480 just complaining about it i know plenty of tarantinos 00:18:28.480 --> 00:18:30.539 it's funny because like tarantino like whenever 00:18:30.539 --> 00:18:33.240 i see him in interviews like i know tons of people 00:18:33.240 --> 00:18:35.700 in like the film world that are equally as passionate 00:18:35.700 --> 00:18:37.579 to talk that way and it is hilarious because 00:18:37.579 --> 00:18:39.640 like oh my god like it can be so insufferable 00:18:39.640 --> 00:18:41.880 but it's funny because you know they're passionate 00:18:41.880 --> 00:18:45.140 about it so at least there's that but yeah Who 00:18:45.140 --> 00:18:48.839 is it? Fiona Apple said she quit cocaine. Yeah. 00:18:49.019 --> 00:18:52.619 Thomas Anderson, Paul Thomas and him. I'm like, 00:18:52.720 --> 00:18:54.759 yeah, me too. But he's still one of my favorite 00:18:54.759 --> 00:18:59.279 directors and I do enjoy watching him talk about 00:18:59.279 --> 00:19:02.160 films and the same way that I, I love John Waters 00:19:02.160 --> 00:19:04.019 talking about films. Like you give me John Waters 00:19:04.019 --> 00:19:05.900 talking about films and I could sit there all 00:19:05.900 -->

00:19:09.579 day, especially when you're an indie filmmaker. 00:19:10.420 --> 00:19:14.019 I always recommend to go. listen to John Waters' 00:19:14.259 --> 00:19:17.240 interviews, how he started. And he is the pope 00:19:17.240 --> 00:19:19.740 of trash. Like, there's no denying that his movies 00:19:19.740 --> 00:19:24.339 hit a different vein of society that a lot of 00:19:24.339 --> 00:19:26.779 people don't like. And, oh, this is horrible. 00:19:26.839 --> 00:19:29.960 Well, that is the reality. And just because you 00:19:29.960 --> 00:19:32.880 hate it doesn't mean it's not true. And he is 00:19:32.880 --> 00:19:35.140 doing what he knows. Try to do something with 00:19:35.140 --> 00:19:39.420 $8 ,000, $500. And if you can make something 00:19:39.420 --> 00:19:41.519 out of that, you can probably do something even 00:19:41.519 --> 00:19:43.819 better with a million dollars. I respect the 00:19:43.819 --> 00:19:46.160 hell out of creators like John Waters. You know, 00:19:46.180 --> 00:19:49.259 I really love subversive cult filmmakers. Like 00:19:49.259 --> 00:19:51.900 I love John Waters and just what his ability 00:19:51.900 --> 00:19:55.059 to do on a small budget, you know, and how he 00:19:55.059 --> 00:19:56.859 created a name for himself. And I also, you know, 00:19:56.900 --> 00:20:00.619 I'm a big fan of, of Kevin Smith and, you know, 00:20:00.619 --> 00:20:03.119 his work and not every single one of his movies 00:20:03.119 --> 00:20:06.490 are my cup of tea, but like. he's such a down 00:20:06.490 --> 00:20:09.589 -to -earth guy and just loves film and comic 00:20:09.589 --> 00:20:11.869 books and to me it's kind of like man like he 00:20:11.869 --> 00:20:14.930 gets it you know he gets the idea of like what 00:20:14.930 --> 00:20:18.049 it is to like be a entertainer to be a creator 00:20:18.049 --> 00:20:20.509 to still put your stamp on things to put your 00:20:20.509 --> 00:20:25.289 own uh i guess mark on on entertainment and do 00:20:25.289 --> 00:20:27.170 your own style but he doesn't take himself too 00:20:27.170 --> 00:20:30.289 seriously and like i get that like yeah of course 00:20:30.289 --> 00:20:32.269 like not everybody's gonna like that and i even 00:20:32.269 --> 00:20:34.509 i don't like all of his movies but i like i really 00:20:34.509 --> 00:20:36.329 like a lot of this stuff and respect the hell 00:20:36.329 --> 00:20:39.029 out of you know what he does and how he continues 00:20:39.029 --> 00:20:44.250 to work you know and that's i think any filmmaker 00:20:44.250 --> 00:20:47.329 low budget can learn from a lot of these great 00:20:47.329 --> 00:20:49.710 cult filmmakers. Yeah, you don't have to like, 00:20:49.769 --> 00:20:51.710 look, even my favorite directors, I don't like 00:20:51.710 --> 00:20:54.410 all the work. So it's not about, oh, you have 00:20:54.410 --> 00:20:57.490 to commit to someone's whole catalog of films. 00:20:57.529 --> 00:21:13.609 Not really. As a filmmaker, I know you got two 00:21:13.609 --> 00:21:15.890 films coming out. Like I mentioned at the beginning, 00:21:15.970 --> 00:21:18.130 you have one that's coming out on Blu -ray release 00:21:18.130 --> 00:21:20.630 and which we're going to be talking about towards 00:21:20.630 --> 00:21:22.509 the end. But right now I want to focus on the 00:21:22.509 --> 00:21:26.289 one that you are having. It's coming out in New 00:21:26.289 --> 00:21:29.049 York. I believe it's in October. It's various 00:21:29.049 --> 00:21:32.849 different festivals. Yeah. And it's called Fortunato's 00:21:32.849 --> 00:21:37.269 Descent, which I know for people who are of horror 00:21:37.269 --> 00:21:39.109 and genre, they're like, oh my God, that sounds 00:21:39.109 --> 00:21:41.960 like the most artistic. pretentious piece of 00:21:41.960 --> 00:21:45.380 crap but i swear it's not it's an adaptation 00:21:45.380 --> 00:21:48.859 of an edgar allen poe story so for horror lovers 00:21:48.859 --> 00:21:54.019 you know embrace uh don't don't give up uh no 00:21:54.019 --> 00:21:56.500 it's um i i chose that because it's literally 00:21:56.500 --> 00:22:00.019 the my favorite edgar allen poe story is the 00:22:00.019 --> 00:22:04.059 cask of amontillado and it's about this man this 00:22:04.059 --> 00:22:08.220 uh very psychopathic dude who takes his friend 00:22:08.220 --> 00:22:14.339 into a cellar in the catacombs and he um gets 00:22:14.339 --> 00:22:16.380 him really drunk and promises hey you know there's 00:22:16.380 --> 00:22:20.259 all this great wine down there the best manziato 00:22:20.259 --> 00:22:22.400 you know and he takes him down there and he chains 00:22:22.400 --> 00:22:24.180 him up and leaves him there and it's this drunk 00:22:24.180 --> 00:22:26.759 guy realizing slowly what his fate is and his 00:22:26.759 --> 00:22:28.900 fate is to rot down there in the catacombs for 00:22:28.900 --> 00:22:33.200 eternity so our film is the recap of that and 00:22:33.200 --> 00:22:37.039 him being left behind those tombs and his mental 00:22:37.039 --> 00:22:40.779 process of what he is going through and he starts 00:22:40.779 --> 00:22:43.099 to like rationalize why he's there and thinks 00:22:43.099 --> 00:22:46.480 that his torment is deserved and it becomes a 00:22:46.480 --> 00:22:49.819 bit of like a, you know, almost Dante's Inferno 00:22:49.819 --> 00:22:52.180 -esque, you know, heaven and hell allegory, you 00:22:52.180 --> 00:22:55.599 know, for, you know, penance and all the wicked 00:22:55.599 --> 00:22:58.700 stuff. So it's a bit fun and it's also my own 00:22:58.700 --> 00:23:04.200 personal, I guess. tribute towards a lot of like 00:23:04.200 --> 00:23:07.519 early gothic roger corman stuff you know his 00:23:07.519 --> 00:23:10.599 poe adaptations like mask of red death or uh 00:23:10.599 --> 00:23:13.619 house of usher uh pit in the pendulum i'm really 00:23:13.619 --> 00:23:19.279 into that era of film uh my boss and good friend 00:23:19.279 --> 00:23:22.940 uh lloyd

kaufman of trauma was really good friends 00:23:22.940 --> 00:23:25.420 with roger corman And he told me some stories 00:23:25.420 --> 00:23:27.619 about Roger Corman. And I was kind of picking 00:23:27.619 --> 00:23:29.640 his brain when I was making this and showing 00:23:29.640 --> 00:23:31.900 him pictures and being like, do you think this 00:23:31.900 --> 00:23:33.680 is something that he would have liked? And, you 00:23:33.680 --> 00:23:36.000 know, Lloyd seemed to like it when I showed it. 00:23:36.059 --> 00:23:38.059 So, I mean, it seemed like it was a thumbs up. 00:23:38.160 --> 00:23:40.559 I'm a big lover of those films. So this film 00:23:40.559 --> 00:23:43.299 is very much a throwback to that. And I did the 00:23:43.299 --> 00:23:45.559 special effects on it. Everybody gives a super 00:23:45.559 --> 00:23:48.440 solid performance, at least in my opinion. And 00:23:48.440 --> 00:23:52.440 the gothic look and atmosphere is, we worked 00:23:52.440 --> 00:23:56.000 hard to create it. Before we continue on your 00:23:56.000 --> 00:23:59.859 film, you mentioned trauma. And I got to say, 00:23:59.900 --> 00:24:06.380 I didn't know about trauma. And there's a physical 00:24:06.380 --> 00:24:09.960 media store in Brooklyn that I kind of go to 00:24:09.960 --> 00:24:11.859 every five minutes I can whenever I want to go 00:24:11.859 --> 00:24:14.619 bankrupt. And I bought two films there. I think 00:24:14.619 --> 00:24:18.140 they had an event for Edie Miss Campbell and 00:24:18.140 --> 00:24:24.559 Tromeo and Juliet. one copy of Eating Miss Campbell, 00:24:24.720 --> 00:24:29.099 which is signed by Leon Regan. And then also 00:24:29.099 --> 00:24:32.960 Tromeo that is signed by Lloyd Kaufman. And I 00:24:32.960 --> 00:24:36.059 got to say, Tromeo and Juliet, this is the funniest 00:24:36.059 --> 00:24:38.839 shit I've ever seen. Isn't it awesome? This movie 00:24:38.839 --> 00:24:41.299 is so good. Like, honestly, I went into these 00:24:41.299 --> 00:24:45.799 blind because I didn't, I thought it was, because 00:24:45.799 --> 00:24:49.940 I love teaching Miss Tingle. And that's a very 00:24:49.940 --> 00:24:52.700 throwback for everybody from the 90s. But I'm 00:24:52.700 --> 00:24:54.539 like, Eating Miss Campbell sounds like Teaching 00:24:54.539 --> 00:24:56.960 Miss Tingle. So let me grab that one too. I haven't 00:24:56.960 --> 00:25:00.720 seen that one yet. It's by Williamson also, the 00:25:00.720 --> 00:25:02.859 one who wrote Scream. He did Teaching Miss Tingle. 00:25:02.859 --> 00:25:04.799 Actually, he wrote that before. He wrote that 00:25:04.799 --> 00:25:08.039 before and then it got made after Scream became 00:25:08.039 --> 00:25:12.599 a hit. But I sat down to watch Show Me and I 00:25:12.599 --> 00:25:16.019 did not know what the hell to expect. I had such 00:25:16.019 --> 00:25:17.880 a good time with that film. Made me want to dig 00:25:17.880 --> 00:25:21.680 more into independent cinema, B -horror especially, 00:25:22.059 --> 00:25:25.700 because I would say I might not love B -horror, 00:25:25.819 --> 00:25:29.480 but there's always something in there that makes 00:25:29.480 --> 00:25:33.809 me laugh. so much that i end up enjoying it even 00:25:33.809 --> 00:25:37.750 as good or bad as it is so and i feel like trump 00:25:37.750 --> 00:25:40.670 oh and julia was just it was fucking hysterical 00:25:40.670 --> 00:25:42.650 and i always recommend it to everyone and whenever 00:25:42.650 --> 00:25:45.410 i see a copy i'm gonna i i send it to people 00:25:45.410 --> 00:25:47.309 same thing with i forgot the name now of the 00:25:47.309 --> 00:25:50.190 movie trash humpers okay no i don't think i've 00:25:50.190 --> 00:25:53.829 heard so trash humpers is also such a fucked 00:25:53.829 --> 00:25:58.390 up movie like it's only on dvd and the quality 00:25:58.390 --> 00:26:03.240 is not great But it's just so, so messed up. 00:26:03.440 --> 00:26:05.779 If you sit down and watch that movie, I always 00:26:05.779 --> 00:26:07.859 tell people, I sent a copy to a friend of mine 00:26:07.859 --> 00:26:11.220 in LA because it is, no, no, no. He was here. 00:26:11.279 --> 00:26:12.700 I bought it. I bought it for him because I'm 00:26:12.700 --> 00:26:14.140 like, you got to buy it. You got to see this 00:26:14.140 --> 00:26:15.480 movie. And he's like, really? I was like, I'm 00:26:15.480 --> 00:26:16.720 buying it for you because you need to see this 00:26:16.720 --> 00:26:19.279 movie. And I told him, I'm like, it's not a horror 00:26:19.279 --> 00:26:21.240 movie. This is the funny thing. That movie is 00:26:21.240 --> 00:26:27.039 not a horror movie, but it is so unnerving. And 00:26:27.039 --> 00:26:29.839 all you have is just people, literally just three 00:26:29.839 --> 00:26:31.920 people going down the street, humping trash. 00:26:32.339 --> 00:26:34.640 But then when they start coming into people's 00:26:34.640 --> 00:26:39.099 houses and hanging around with them at their 00:26:39.099 --> 00:26:43.579 house, and they get into some situations that 00:26:43.579 --> 00:26:46.740 I don't want to spoil, but towards the end, there's 00:26:46.740 --> 00:26:49.500 a song they sing throughout the movie, but the 00:26:49.500 --> 00:26:52.359 song just gets creepier and creepier and creepier 00:26:52.359 --> 00:26:55.980 throughout. the movie that towards the end, I'm 00:26:55.980 --> 00:26:58.980 just kind of unnerved entirely. Like I was like, 00:26:59.019 --> 00:27:01.839 this film went where I did not think this film 00:27:01.839 --> 00:27:04.019 was going to go. Like you start with people humping 00:27:04.019 --> 00:27:06.240 trash in the middle of the street, in the middle 00:27:06.240 --> 00:27:09.079 of broad daylight. And then to that haunting 00:27:09.079 --> 00:27:12.039 finale, I was like, holy shit. That's the same 00:27:12.039 --> 00:27:15.319 guy who did Gummo. Oh, well then that makes sense. 00:27:15.420 --> 00:27:17.160 Yeah. I just like, when

you were talking about 00:27:17.160 --> 00:27:19.299 trauma, I was like, that kind of like, I know 00:27:19.299 --> 00:27:21.259 it put me on a tangent there. I kind of got the 00:27:21.259 --> 00:27:23.480 idea of the kind of films that you were talking 00:27:23.480 --> 00:27:25.920 about from that. They're made in such a way that, 00:27:25.960 --> 00:27:28.500 you know, they become cult classics. And sometimes 00:27:28.500 --> 00:27:30.799 people, I don't know, people sometimes think 00:27:30.799 --> 00:27:33.299 that's an offense to a film. I mean, it's just 00:27:33.299 --> 00:27:35.440 like your movie is appreciated by people. You 00:27:35.440 --> 00:27:38.039 know, it's like, oh, it's a cult classic. You 00:27:38.039 --> 00:27:40.730 know, like people, they... I don't know. They 00:27:40.730 --> 00:27:59.250 take themselves too seriously. But going back 00:27:59.250 --> 00:28:02.930 to Fortunato's Descent, I had a chance to see 00:28:02.930 --> 00:28:05.769 it last night. And I was like, I forgot it was 00:28:05.769 --> 00:28:08.400 a short film. And then I was like... Oh, is it 00:28:08.400 --> 00:28:09.859 going to keep going? What's going to happen? 00:28:10.799 --> 00:28:13.940 Why that one? Why? How do you identify with that 00:28:13.940 --> 00:28:16.740 story? I honestly remember reading it in high 00:28:16.740 --> 00:28:19.640 school and being really creeped out by it because 00:28:19.640 --> 00:28:22.240 I'd read Poe before, but I just remember having 00:28:22.240 --> 00:28:24.720 to read that one as part of some mandatory thing. 00:28:25.460 --> 00:28:27.920 So the way, like years later, it feels like some 00:28:27.920 --> 00:28:30.339 fucked up school project. But like, I remember 00:28:30.339 --> 00:28:33.670 reading it in high school. And my English teacher 00:28:33.670 --> 00:28:35.529 is, like, you know, really insistent upon us 00:28:35.529 --> 00:28:38.150 reading it. And I remember, like, the idea of 00:28:38.150 --> 00:28:41.230 the creepy clown kind of being pioneered from 00:28:41.230 --> 00:28:44.390 this story, too. Because, you know, you have 00:28:44.390 --> 00:28:49.950 Fortunato in the jester costume, you know, being 00:28:49.950 --> 00:28:51.789 made a fool. But it's kind of that, you know, 00:28:51.809 --> 00:28:55.069 devious clown. And it was kind of implied that, 00:28:55.130 --> 00:28:58.049 you know, in the story that Montresor has this... 00:28:58.980 --> 00:29:01.920 pointy you know nose type mask you know almost 00:29:01.920 --> 00:29:04.160 like some kind of thing and we tried to do that 00:29:04.160 --> 00:29:06.160 with the mask but i wanted to go for something 00:29:06.160 --> 00:29:08.299 a little bit eyes wide shut with the look of 00:29:08.299 --> 00:29:10.900 the masks because yeah it was very venetian yeah 00:29:10.900 --> 00:29:14.339 yeah i'm glad they came off that way it definitely 00:29:14.339 --> 00:29:16.799 i was not the designer that has had the idea 00:29:16.799 --> 00:29:19.440 and i gave it to the designer and she created 00:29:19.440 --> 00:29:23.000 something really cool but um yeah i love that 00:29:23.000 --> 00:29:26.559 very you know eerie circusy venetian you know 00:29:26.559 --> 00:29:30.059 almost like moulin rouge look but i hate the 00:29:30.059 --> 00:29:34.079 movie moulin rouge so going for something that 00:29:34.079 --> 00:29:36.759 has that look you know and then going for a bit 00:29:36.759 --> 00:29:40.240 of a horror twist and um i wanted to when i was 00:29:40.240 --> 00:29:43.960 showing uh uh the people involved in the film 00:29:43.960 --> 00:29:46.460 my pitch deck you know for like presenting the 00:29:46.460 --> 00:29:48.859 idea I actually showed them a lot of visuals 00:29:48.859 --> 00:29:52.660 from Alice in Chains music videos, like Man in 00:29:52.660 --> 00:29:55.660 a Box and Down in a Hole. And I showed them some 00:29:55.660 --> 00:29:58.420 screen grabs from Alien 3, actually, because 00:29:58.420 --> 00:30:00.660 I really love the look of that movie. I'm not 00:30:00.660 --> 00:30:02.700 the biggest fan of Alien 3. I think it does a 00:30:02.700 --> 00:30:05.579 lot of stupid shit. But it's a really great, 00:30:05.740 --> 00:30:09.900 lame movie that has some really cool visuals 00:30:09.900 --> 00:30:12.680 in it. And it's really, like, visually has some 00:30:12.680 --> 00:30:14.980 of the coolest, like, world building to look 00:30:14.980 --> 00:30:18.799 at a movie. It's this dark. 90s burnt orange 00:30:18.799 --> 00:30:21.900 hellish like Dante's Inferno type landscape, 00:30:22.240 --> 00:30:25.619 which I wanted this movie to feel like that burnt 00:30:25.619 --> 00:30:29.119 orange colors and we were filming it in the fall. 00:30:29.420 --> 00:30:31.420 So I thought, okay, how appropriate, you know, 00:30:31.460 --> 00:30:34.380 it's got this Halloween edge to it. So, yeah. 00:30:34.539 --> 00:30:37.910 What location were you guys filming in? We were 00:30:37.910 --> 00:30:39.789 filming in a couple locations. We were filming 00:30:39.789 --> 00:30:42.769 in a green screen room with black lights, not 00:30:42.769 --> 00:30:45.130 black lights, excuse me, black curtains at a 00:30:45.130 --> 00:30:47.890 film institute here in the Czech Republic in 00:30:47.890 --> 00:30:50.950 Prague. And then we were also used a lot of the 00:30:50.950 --> 00:30:53.789 props from Barandov Studios and costumes. And 00:30:53.789 --> 00:30:56.190 that's the same studio where they shot Nosferatu 00:30:56.190 --> 00:30:58.849 and actually in a couple other films. But we 00:30:58.849 --> 00:31:02.049 got to use like, you know, crazy props. different 00:31:02.049 --> 00:31:04.710 materials and I did the special effects makeup 00:31:04.710 --> 00:31:07.109 and we used another place called the Prague Fear 00:31:07.109 --> 00:31:10.390 House which had this underground cavern because 00:31:10.390 --> 00:31:12.990 Prague itself has a lot of these secret underground 00:31:12.990 --> 00:31:17.509 tunnels

and since we were not you know in the 00:31:17.509 --> 00:31:20.809 actual catacombs uh we had to make do with the 00:31:20.809 --> 00:31:23.329 tunnels that we had and I think they came across 00:31:23.329 --> 00:31:28.730 uh really effective and creepy um So it worked. 00:31:28.910 --> 00:31:31.509 Yeah, I actually, I actually thought it, I actually 00:31:31.509 --> 00:31:33.309 thought it was like a location, like a catacomb 00:31:33.309 --> 00:31:36.009 location. So I didn't really come out as it was. 00:31:36.150 --> 00:31:39.769 Yeah. And the blast screen that you mentioned, 00:31:39.869 --> 00:31:43.289 like I didn't really notice it. So I don't even 00:31:43.289 --> 00:31:46.269 know what scene that was. So I guess that's a 00:31:46.269 --> 00:31:50.349 good thing. So, but I do like, I do love Dante. 00:31:50.670 --> 00:31:52.569 I love the divine comedy is one of my favorite 00:31:52.569 --> 00:31:56.829 poems. And I do, I do see a lot of the elements. 00:31:57.680 --> 00:32:00.960 Of it here, obviously not just the era that it 00:32:00.960 --> 00:32:06.059 was recreating, but it did give off that vibe. 00:32:06.460 --> 00:32:09.019 So if that was the point, yeah, then it definitely 00:32:09.019 --> 00:32:12.460 did. I wanted to break up a scene since you were 00:32:12.460 --> 00:32:15.700 already talking about the catacombs. You mentioned 00:32:15.700 --> 00:32:18.740 how some of the places that you already recorded 00:32:18.740 --> 00:32:21.819 at and some of the locations that you used and 00:32:21.819 --> 00:32:27.680 costumes, but how... How did you plan this visually? 00:32:28.059 --> 00:32:30.920 At least let's take the catacomb one. How did 00:32:30.920 --> 00:32:34.400 you plan that visually and the approach of the 00:32:34.400 --> 00:32:37.339 camera? Because it feels at times that it's very 00:32:37.339 --> 00:32:40.680 claustrophobic, but because you have one character, 00:32:40.779 --> 00:32:43.200 then you have the other character when you're 00:32:43.200 --> 00:32:46.220 focusing, but then you have them both. So it 00:32:46.220 --> 00:32:50.079 goes from a space that is very small to a space 00:32:50.079 --> 00:32:52.240 where you got two characters at the same time. 00:32:52.650 --> 00:32:56.450 Yeah, well, the idea behind that was that Fortunato, 00:32:56.630 --> 00:32:59.289 you know, he's down there in Montresor, the masked 00:32:59.289 --> 00:33:03.250 man in the moon mask and the cloak. That guy 00:33:03.250 --> 00:33:06.789 was basically, you know, not actually there. 00:33:06.990 --> 00:33:09.490 It was supposed to be more or less a hallucination 00:33:09.490 --> 00:33:12.930 on behalf of Fortunato because he had been trapped 00:33:12.930 --> 00:33:15.650 down there by this guy. And because he had been 00:33:15.650 --> 00:33:18.569 trapped in this location by this guy, he was 00:33:18.569 --> 00:33:23.680 trying to essentially create. Some internal reasoning 00:33:23.680 --> 00:33:26.200 for why somebody could be so cruel to punish 00:33:26.200 --> 00:33:29.099 him like that So he kind of like started to believe 00:33:29.099 --> 00:33:31.759 that what he did was deserved and he started 00:33:31.759 --> 00:33:35.700 to view Montressor as this like monotheistic 00:33:35.700 --> 00:33:39.819 like all -powerful god -like entity it was there 00:33:39.819 --> 00:33:41.720 and was punishing him and was talking to him 00:33:41.720 --> 00:33:44.279 and tormenting him about his you know lust for 00:33:44.279 --> 00:33:48.460 wine and you know being a crude bastard so the 00:33:48.460 --> 00:33:50.759 locations you know the look of the camera and 00:33:50.759 --> 00:33:52.839 the idea was like you know having it feel like 00:33:52.839 --> 00:33:55.220 they're close but also having it making it feel 00:33:55.220 --> 00:33:58.200 like we're wide open spaces because we changed 00:33:58.200 --> 00:34:00.839 that set like three or four times you know going 00:34:00.839 --> 00:34:02.880 back and forth and it's just trickery of the 00:34:02.880 --> 00:34:05.650 camera to make it look like we're in one location, 00:34:05.730 --> 00:34:07.750 but we're actually somewhere else and making 00:34:07.750 --> 00:34:09.730 one actor look closer than they actually are, 00:34:09.829 --> 00:34:11.769 but having a really tight location, but making 00:34:11.769 --> 00:34:14.230 the actors look like they're far apart, you know, 00:34:14.230 --> 00:34:16.730 and then same thing with like the end, you know, 00:34:16.750 --> 00:34:19.110 with, with the chains and all that. And yeah, 00:34:19.130 --> 00:34:22.130 him hallucinating that the chains are vines of, 00:34:22.170 --> 00:34:24.349 you know, delicious grapes, you know, to make 00:34:24.349 --> 00:34:26.929 wine as he's eating them only for him to be tearing 00:34:26.929 --> 00:34:30.110 the teeth out of his mouth. It's all just, you 00:34:30.110 --> 00:34:34.909 know, movie magic and trickery. So, yeah. Was 00:34:34.909 --> 00:34:37.750 there anything from that scene that didn't go 00:34:37.750 --> 00:34:41.650 according to plan? Yeah. There was actually a 00:34:41.650 --> 00:34:44.250 really awesome shot of him actually eating the 00:34:44.250 --> 00:34:47.469 rat that unfortunately didn't make the cut because 00:34:47.469 --> 00:34:50.530 we thought we were recording and we had one rat 00:34:50.530 --> 00:34:54.369 and I made the rat and we thought we were recording 00:34:54.369 --> 00:34:57.650 the scene and it was not recording and this nasty 00:34:57.650 --> 00:35:00.309 ass crazy awesome visual of him tearing into 00:35:00.309 --> 00:35:04.139 this rat. did not make it and i was like of course 00:35:04.139 --> 00:35:05.880 that's the one that doesn't make it i mean we 00:35:05.880 --> 00:35:08.880 basically see it kind of but it was much more 00:35:08.880 --> 00:35:13.199 disgusting and like vomit inducing so maybe people 00:35:13.199 --> 00:35:15.019 who are watching it will appreciate that it's 00:35:15.019 --> 00:35:18.260

not in the film but it was there and it was nasty 00:35:18.260 --> 00:35:22.019 so yeah So overall, you would say like at least 00:35:22.019 --> 00:35:25.059 this scene turned out how you imagined it. But 00:35:25.059 --> 00:35:28.800 besides the not recording part. Initially, the 00:35:28.800 --> 00:35:30.699 only other thing that I'd say that was changed 00:35:30.699 --> 00:35:35.219 was the designs of the chains on Fortunato. Because 00:35:35.219 --> 00:35:37.420 initially they were actually going to look as 00:35:37.420 --> 00:35:40.420 if he was like in a chain of spider webs and 00:35:40.420 --> 00:35:42.280 they were going to be kind of hanging down over 00:35:42.280 --> 00:35:45.849 him and then nailed into the floor. But we just 00:35:45.849 --> 00:35:48.650 didn't have the time or the people to do that 00:35:48.650 --> 00:35:50.050 because that would have been really elaborate. 00:35:50.150 --> 00:35:52.769 I would have loved to do that. But for the sake 00:35:52.769 --> 00:35:55.849 of the film and what we had, it worked. But that 00:35:55.849 --> 00:35:57.929 doesn't mean that I won't see that gag and that 00:35:57.929 --> 00:35:59.909 creepy visual return in something else in the 00:35:59.909 --> 00:36:03.889 future. You never know. Is there, at least from 00:36:03.889 --> 00:36:08.949 Edgard, is there any other... one of his poems 00:36:08.949 --> 00:36:11.429 any other poems of his that you are interested 00:36:11.429 --> 00:36:14.750 in developing are these making this not just 00:36:14.750 --> 00:36:17.530 a short film but at least an anthology well i 00:36:17.530 --> 00:36:20.449 don't know about poe but there are tons of other 00:36:20.449 --> 00:36:23.469 short horror gothic writers i'd love to adapt 00:36:23.469 --> 00:36:25.389 because poe i feel like so many of them have 00:36:25.389 --> 00:36:28.989 been done yeah and i don't want to just retread 00:36:28.989 --> 00:36:33.409 the same ground um and poe a lot of his stories 00:36:33.409 --> 00:36:36.500 i feel like elements of, of Casca of Amontillado 00:36:36.500 --> 00:36:37.920 have appeared in other movies, but it's never 00:36:37.920 --> 00:36:39.880 just been straight up adapted as a film film. 00:36:40.280 --> 00:36:42.139 So that's kind of why I felt like, let me try 00:36:42.139 --> 00:36:44.739 and add something new because I love Poe, but 00:36:44.739 --> 00:36:46.539 I would love, there's tons of other artists, 00:36:46.639 --> 00:36:49.719 you know, or artists, I mean artists, but authors 00:36:49.719 --> 00:36:51.679 I would love to adapt things from, you know, 00:36:51.679 --> 00:36:55.219 like I would love to do my own. I hadn't even 00:36:55.219 --> 00:36:57.139 thought about doing, I mean, I'm not saying this 00:36:57.139 --> 00:36:59.059 is in development because it's not, but I'd love 00:36:59.059 --> 00:37:00.880 to do it at some point if I ever were given the 00:37:00.880 --> 00:37:04.980 opportunities. do my own uh adaptation of nathaniel 00:37:04.980

--> 00:37:08.619 hawthorne's uh young goodman brown i'd love to 00:37:08.619 --> 00:37:12.760 do that story i think there's so much uh to kind 00:37:12.760 --> 00:37:15.739 of like decrypt in that and i really love the 00:37:15.739 --> 00:37:19.019 autumnal almost like salem massachusetts type 00:37:19.019 --> 00:37:23.719 visuals um so yeah i'd love to do something you 00:37:23.719 --> 00:37:27.099 know with that and there's you know some lovecraft 00:37:27.099 --> 00:37:31.710 i'd like to potentially adapt I've actually wrote 00:37:31.710 --> 00:37:35.730 my own adaptation with a friend of mine here 00:37:35.730 --> 00:37:39.070 in the Czech Republic for a screenplay that was 00:37:39.070 --> 00:37:42.650 a riff on The King in Yellow, if you're familiar 00:37:42.650 --> 00:37:45.050 with that tale and the legendarium behind that. 00:37:45.210 --> 00:37:48.610 So we did our own riff on that. So yeah, I'd 00:37:48.610 --> 00:37:50.690 say there's a few. Poe, though, I'd really have 00:37:50.690 --> 00:37:53.789 to think about it. I don't think so too much 00:37:53.789 --> 00:37:55.989 with Poe. Maybe The Black Cat, because I love 00:37:55.989 --> 00:38:01.769 cats. I don't have any like personal, you know, 00:38:01.769 --> 00:38:04.630 urge or immediate need to do any more post stories. 00:38:04.789 --> 00:38:08.269 What was the, at least like making your own independent 00:38:08.269 --> 00:38:11.989 films, what do you think is more difficult? Is 00:38:11.989 --> 00:38:15.989 it either making the film or just getting people 00:38:15.989 --> 00:38:20.889 to actually see it? Um, probably a bit of both. 00:38:21.610 --> 00:38:24.389 Cause you know, when, with the budget comes budget 00:38:24.389 --> 00:38:27.329 for marketing. because you have to market your 00:38:27.329 --> 00:38:29.409 film properly if you want anybody to see it. 00:38:29.670 --> 00:38:31.730 But then also, if you want to make the movie, 00:38:31.789 --> 00:38:33.429 you have to have the budget for making it. So 00:38:33.429 --> 00:38:35.409 you have to take into account both things when 00:38:35.409 --> 00:38:37.309 making the film and just thinking about what 00:38:37.309 --> 00:38:41.309 you have. Because I feel like even with some 00:38:41.309 --> 00:38:43.190 of my other stuff, I've spent way more money 00:38:43.190 --> 00:38:45.730 just pushing the hell out of these ridiculous 00:38:45.730 --> 00:38:48.090 -ass movies versus actually making them, because 00:38:48.090 --> 00:38:50.130 you can make them for super low budget just with 00:38:50.130 --> 00:38:52.969 really talented people and a creative brain. 00:38:53.940 --> 00:38:56.960 whatever access to tools you have and then marketing 00:38:56.960 --> 00:38:58.739 them and getting them out there, that's the harder 00:38:58.739 --> 00:39:02.480 part. So I would say maybe getting them seen 00:39:02.480 --> 00:39:07.219 is probably harder and also like finding new 00:39:07.219 --> 00:39:10.559 ways to keep maintaining screenings or new ways 00:39:10.559 --> 00:39:13.760 to maintaining interest so that it sticks along. 00:39:14.019 --> 00:39:16.179 But it's weird because sometimes you'll create 00:39:16.179 --> 00:39:19.000 something and it'll just kind of be like dust 00:39:19.000 --> 00:39:20.719 in the wind and then all of a sudden it'll come 00:39:20.719 --> 00:39:22.800 back way later and be like, oh wow, people are... 00:39:23.420 --> 00:39:26.119 into this now for some reason how strange so 00:39:26.119 --> 00:39:28.980 yeah and you like you said this is not just going 00:39:28.980 --> 00:39:31.159 to be in new york you're looking for actually 00:39:31.159 --> 00:39:33.900 other film festivals yeah i mean i'm yeah that's 00:39:33.900 --> 00:39:36.139 just you know kind of a bare bones of where we're 00:39:36.139 --> 00:39:40.480 where we're seeking but um mainly like the eu 00:39:40.480 --> 00:39:44.000 for sure i mean you know italy france been looking 00:39:44.000 --> 00:39:47.039 there too but i don't want to say too much before 00:39:47.039 --> 00:39:50.869 uh The Fat Lady Sings, if you know what I mean. 00:39:51.690 --> 00:39:54.769 It's not over yet. So I would rather just kind 00:39:54.769 --> 00:39:57.989 of share as that comes along. But there are definitely 00:39:57.989 --> 00:40:01.869 very, very good things on the horizon with it. 00:40:02.110 --> 00:40:07.309 And it's opened some very gracious doors for 00:40:07.309 --> 00:40:09.489 me, which I'm happy about. And I've made some 00:40:09.489 --> 00:40:11.250 wonderful connections through the film. What 00:40:11.250 --> 00:40:14.190 are you hoping that audiences come out feeling 00:40:14.190 --> 00:40:17.800 when they watch Fortunato's Descent? I hope they 00:40:17.800 --> 00:40:21.000 feel that dread and atmosphere that I want to 00:40:21.000 --> 00:40:23.260 convey. I hope they feel like that they're locked 00:40:23.260 --> 00:40:27.420 away in some nasty Terry Gilliam -esque cellar 00:40:27.420 --> 00:40:32.099 with a bunch of old, creepy, court jester -like 00:40:32.099 --> 00:40:36.650 figures, you know. thinking about past sins and, 00:40:36.670 --> 00:40:38.750 you know, their alcoholism, if they have any. 00:40:38.989 --> 00:40:41.550 No, I'm getting way, I'm getting, you know, deep 00:40:41.550 --> 00:40:44.829 with it. I actually want a glass of wine. Yeah, 00:40:44.909 --> 00:40:47.389 let's, I hope they enjoy it over a glass of wine. 00:40:47.849 --> 00:40:50.750 Honestly, no. I mean, to me, it's, if I want 00:40:50.750 --> 00:40:52.570 people to take out of it what they take out of 00:40:52.570 --> 00:40:54.369 it, it's dark. Of course, it's supposed to be 00:40:54.369 --> 00:40:56.789 disturbing. I wrote it that way. And then it's 00:40:56.789 --> 00:40:59.170 not, it's my own writing mixed with Poe's writing. 00:40:59.250 --> 00:41:02.130 So the beginning, it's like Poe. dialogue and 00:41:02.130 --> 00:41:04.230 then the rest is my dialogue that i had written 00:41:04.230 -->

00:41:06.670 for the characters because i wanted to you know 00:41:06.670 --> 00:41:08.889 feel it had to be as period accurate as possible 00:41:08.889 --> 00:41:12.429 um and everyone had to be as repulsive as possible 00:41:12.429 --> 00:41:15.409 too because i love terry gilliam and i love how 00:41:15.409 --> 00:41:17.510 he just doesn't shy away from making like villagers 00:41:17.510 --> 00:41:21.289 look just like disgusting as all hell so i wanted 00:41:21.289 --> 00:41:23.170 like everybody in this movie to look nasty especially 00:41:23.170 --> 00:41:27.760 our two leads I hope that this is just the type 00:41:27.760 --> 00:41:29.840 of thing people can watch and they feel the autumn 00:41:29.840 --> 00:41:32.780 vibes, you know, and enjoy it for that reason 00:41:32.780 --> 00:41:36.139 alone. Because I love flicking on things around 00:41:36.139 --> 00:41:38.280 Halloween time and just kind of feeling, you 00:41:38.280 --> 00:41:41.800 know, entranced and absorbing the autumn atmosphere. 00:41:42.019 --> 00:41:45.579 So, yeah. It definitely caught that. That's for 00:41:45.579 --> 00:41:48.460 sure. Cool. I'm glad. I'm glad it gave that vibe. 00:42:02.610 --> 00:42:06.190 Before we close, I want to get now into your 00:42:06.190 --> 00:42:09.429 physical release. And that is the release of 00:42:09.429 --> 00:42:13.269 Hishkenstein, if I pronounced that right. Hishkenstein. 00:42:13.670 --> 00:42:17.389 Yeah, it's Hishkenstein. See, that's why I asked. 00:42:17.429 --> 00:42:19.670 I asked you earlier, I'm like, is it Hishkenstein 00:42:19.670 --> 00:42:21.630 or Hishkenstein? And you're like, oh, it's Hishkenstein. 00:42:21.869 --> 00:42:24.650 And I still went with Hishkenstein. It's a running 00:42:24.650 --> 00:42:27.429 joke because even the main character, the guy, 00:42:27.590 --> 00:42:30.610 Hishkenstein, mispronounces his name. Like, it 00:42:30.610 --> 00:42:33.239 was like... Part of it was hilarious because, 00:42:33.320 --> 00:42:37.059 like, when we were making the movie, you know, 00:42:37.079 --> 00:42:40.019 I wanted to do, like, a riff on, like, shitty, 00:42:40.059 --> 00:42:42.400 stupid characters from, like, the 70s and the 00:42:42.400 --> 00:42:44.360 80s from, like, all these B -movies, from, like, 00:42:44.400 --> 00:42:47.360 exploitation stuff in particular that would have, 00:42:47.420 --> 00:42:50.559 you know, just, like, ridiculous, zany names 00:42:50.559 --> 00:42:53.780 and really bad wigs and bad facial hair. So there's 00:42:53.780 --> 00:42:56.000 this running gag that Ramirez has this, like, 00:42:56.019 --> 00:42:58.460 shitty goatee that's, like, halfway falling off 00:42:58.460 --> 00:43:02.469 his face all the time. So it's like a part of 00:43:02.469 --> 00:43:07.130 his costume, you know, and it's the whole idea 00:43:07.130 --> 00:43:10.530 behind the film was to make it like a love letter 00:43:10.530 --> 00:43:16.789 to Halloween, you know, kind of, you know, midnight 00:43:16.789 -->

00:43:20.869 madness, spook show type things with a bit of 00:43:20.869 --> 00:43:25.510 a weird analog psychedelic doom metal edge. And 00:43:25.510 --> 00:43:29.250 it's every bit as gross and just completely stupid 00:43:29.250 --> 00:43:33.449 as you would imagine. But the character has appeared 00:43:33.449 --> 00:43:37.190 in other things before. We had a first film that 00:43:37.190 --> 00:43:40.309 we had made during COVID called Bad People Doing 00:43:40.309 --> 00:43:43.070 Bad Things, which will also be featured on the 00:43:43.070 --> 00:43:45.769 Blu -ray. Oh, so there'll be two films? Awesome. 00:43:45.829 --> 00:43:48.110 Yeah, it's two films, yeah. But Hishkenstein 00:43:48.110 --> 00:43:50.670 is kind of the main point. But Bad People was 00:43:50.670 --> 00:43:53.650 the first one. And he was in that. And the whole 00:43:53.650 --> 00:43:56.809 thing is that Ramirez is a self -proclaimed extraordinary 00:43:56.809 --> 00:44:01.059 method filmmaker. occultist and erotic provocateur 00:44:01.059 --> 00:44:06.679 and uh you know he's got a german last name latino 00:44:06.679 --> 00:44:08.719 first name but he's doing like a french accent 00:44:08.719 --> 00:44:13.019 and he's played by a japanese guy so when you 00:44:13.019 --> 00:44:15.280 when you said that to me earlier i said well 00:44:15.280 --> 00:44:18.019 this is where we're both cancelled Exactly, yeah. 00:44:18.159 --> 00:44:21.300 No, it's every bit as sexy as it sounds and amazing. 00:44:21.860 --> 00:44:24.079 Well, I mean, he's Latino with a French accent. 00:44:24.260 --> 00:44:26.599 No, trust me, I've been to Paris. There's a lot 00:44:26.599 --> 00:44:29.340 of Latinos with very good French accents. Exactly, 00:44:29.340 --> 00:44:31.619 exactly. You'd be surprised. But yeah, no, that 00:44:31.619 --> 00:44:34.559 got me to it. I told my buddy, because he was 00:44:34.559 --> 00:44:36.739 a character that me and my friend kind of like 00:44:36.739 --> 00:44:38.860 created in high school when we were doing this 00:44:38.860 --> 00:44:42.280 video about this crazy mad scientist called Dr. 00:44:42.739 --> 00:44:46.610 Hishkenstein, who was basically the owner of 00:44:46.610 --> 00:44:49.210 this insane asylum with all of these D and C 00:44:49.210 --> 00:44:51.929 tier level celebrities that like were locked 00:44:51.929 --> 00:44:54.650 up and he created this accent and then we just 00:44:54.650 --> 00:44:56.949 kind of carried it out many years later. And 00:44:56.949 --> 00:44:58.869 I said, let's just do something with that guy 00:44:58.869 --> 00:45:01.929 because we were in the middle of COVID and we 00:45:01.929 --> 00:45:04.429 love to just get together and watch horror movies 00:45:04.429 --> 00:45:08.469 and weird, shitty, weird lost films and, you 00:45:08.469 --> 00:45:10.329 know, just laugh and enjoy them. So I wanted 00:45:10.329 --> 00:45:12.230 to create a character that was kind of the embodiment 00:45:12.230 --> 00:45:14.849 of that. And I said like, Let's just, like, do 00:45:14.849 --> 00:45:18.230 a movie about, like, some sleazy, occult -y, 00:45:18.250 --> 00:45:21.650 sexed -up weirdo with a shitty mustache and have 00:45:21.650 --> 00:45:23.849 him go on some bullshit, bogus journey with a 00:45:23.849 --> 00:45:26.510 friend of his. And then the movie turned into 00:45:26.510 --> 00:45:28.530 that. And then we did the Hishkenstein because 00:45:28.530 --> 00:45:31.110 people seemed to like that. And it was just more 00:45:31.110 --> 00:45:34.469 of that but weirder. and uh we're already in 00:45:34.469 --> 00:45:37.969 development on the next one so it's it's definitely 00:45:37.969 --> 00:45:41.389 happening um which i'm very excited to to talk 00:45:41.389 --> 00:45:43.730 about that when when the time comes but it is 00:45:43.730 --> 00:45:46.670 happening for anybody wondering and yeah you 00:45:46.670 --> 00:45:49.469 know it's it's continuing to be weird and fun 00:45:49.469 --> 00:45:53.250 and uh yeah it's it's i love doing the more dark 00:45:53.250 --> 00:45:55.969 serious stuff too because like that's more the 00:45:55.969 --> 00:46:00.460 direction that I want to take my career in terms 00:46:00.460 --> 00:46:02.699 of, you know, as a filmmaker, but I will always 00:46:02.699 --> 00:46:04.719 continue to do the silly Hichtenstein stuff. 00:46:04.860 --> 00:46:08.280 And I think that will continue to be a part of 00:46:08.280 --> 00:46:10.619 my career for the rest of my life, hopefully. 00:46:11.619 --> 00:46:16.099 I mean, sometimes silly characters have a lifespan. 00:46:17.239 --> 00:46:20.119 movies like what's it called the leprechaun movies 00:46:20.119 --> 00:46:23.219 they're oh you know you got these yeah you got 00:46:23.219 --> 00:46:25.840 these weird ass characters and they tend to have 00:46:25.840 --> 00:46:28.960 a good lifespan you know if you know if you keep 00:46:28.960 --> 00:46:31.480 them original or fresh storylines they do have 00:46:31.480 --> 00:46:34.000 a lifespan no no you're right you're right they 00:46:34.000 --> 00:46:37.460 do have those lifespans you know and uh a lot 00:46:37.460 --> 00:46:39.880 of these character actors do too and i think 00:46:39.880 --> 00:46:43.679 like with what i'm hoping to do with these with 00:46:43.679 --> 00:46:47.789 the hischgenstein thing is to you know the actors 00:46:47.789 --> 00:46:50.550 that I have cast for those films that I have 00:46:50.550 --> 00:46:53.789 stepped into those roles. I want to not be seen 00:46:53.789 --> 00:46:56.670 as like, hopefully it's not seen as like this, 00:46:56.750 --> 00:46:59.730 you know, this glamor show. Like to me, I want 00:46:59.730 --> 00:47:01.429 it to be like, these are character actors, you 00:47:01.429 --> 00:47:03.730 know, like, like a Tim Curry type thing or like, 00:47:03.750 --> 00:47:06.449 you know, a Lon Chaney thing, you know. Yeah. 00:47:06.449 --> 00:47:09.050 Theater trope. Yeah. Bringing that theater trope 00:47:09.050 -->

00:47:11.230 into a, in front of a camera. Yeah. I do love 00:47:11.230 --> 00:47:14.239 movies like that. Cause it's like. A lot of mistakes 00:47:14.239 --> 00:47:17.300 tend to make it into the cut a lot of the times 00:47:17.300 --> 00:47:20.500 because they're better than what they, you know, 00:47:20.500 --> 00:47:23.139 they practice. And that's what sometimes when 00:47:23.139 --> 00:47:26.019 you're going into the commentaries and, oh, this 00:47:26.019 --> 00:47:27.960 happened by mistake and this happened by mistake. 00:47:28.119 --> 00:47:29.559 And you're like, well, that made the movie better. 00:47:29.719 --> 00:47:31.539 Like, you know, there's things that happen when 00:47:31.539 --> 00:47:34.559 you have people who are character actors because 00:47:34.559 --> 00:47:36.559 they really know what they're doing. Absolutely. 00:47:37.239 --> 00:47:40.280 How does it make you feel having this release 00:47:40.280 --> 00:47:43.079 coming out on Blu -ray, which not a lot of. independent 00:47:43.079 --> 00:47:46.039 films do get and you know i would say that's 00:47:46.039 --> 00:47:49.639 probably the downfall um that we have in in the 00:47:49.639 --> 00:47:52.019 community that a lot of filmmakers that are independent 00:47:52.019 --> 00:47:58.940 these films if we're trying to archive all types 00:47:58.940 --> 00:48:02.099 of films and as much films as we can we also 00:48:02.099 --> 00:48:05.199 have to focus on independent filmmaking um that 00:48:05.199 --> 00:48:09.599 play on like yourself on festivals and streaming 00:48:09.599 --> 00:48:12.869 and then later on they're just kind of like boof 00:48:12.869 --> 00:48:16.110 disappear and we know we don't protect that part 00:48:16.110 --> 00:48:18.869 of of cinema how does it make you feel having 00:48:18.869 --> 00:48:21.710 you know hitchkenstein uh coming out now on blu 00:48:21.710 --> 00:48:26.170 -ray um i'm just happy you know that i get the 00:48:26.170 --> 00:48:28.710 chance to have it be shared on blu -ray for people 00:48:28.710 --> 00:48:30.690 that like to collect i mean i like to collect 00:48:30.690 --> 00:48:35.670 uh blu -rays vhs's vinyl records um because it's 00:48:35.670 --> 00:48:38.510 just you know it's having something that is like 00:48:38.510 --> 00:48:40.690 a memory like i said it's like movies are a time 00:48:40.690 --> 00:48:44.889 capsule so i'm incredibly honored to have it 00:48:44.889 --> 00:48:48.929 come out i mean um everybody worked hard on it 00:48:48.929 --> 00:48:52.710 so i would hope that everybody's excited about 00:48:52.710 --> 00:48:55.489 the the idea of this coming out and having it 00:48:55.489 --> 00:48:58.610 you know be its thing and hopefully it will continue 00:48:58.610 --> 00:49:03.170 to live on in you know the world in some way 00:49:03.170 --> 00:49:05.250 you know because physical media it is unfortunately 00:49:05.250 --> 00:49:07.429 it's not as big as it used to be but i'm hoping 00:49:08.219 --> 00:49:10.239 that it does make some form of return because 00:49:10.239 --> 00:49:13.420 you are seeing more people, you know, get vinyl 00:49:13.420 --> 00:49:15.380 records and do things like that because it's 00:49:15.380 --> 00:49:18.980 like there's this hearkening for nostalgia. And 00:49:18.980 --> 00:49:23.280 I think that, you know, in the way that history 00:49:23.280 --> 00:49:26.460 repeats itself in like the way that movies repeat 00:49:26.460 --> 00:49:28.579 themselves, I think that like culture and trends, 00:49:28.719 --> 00:49:30.710 you know, like you'll see a lot of trends. from 00:49:30.710 --> 00:49:33.050 the 90s come back now the way people are dressing 00:49:33.050 --> 00:49:35.210 the big baggy jeans like even like the earth 00:49:35.210 --> 00:49:38.309 with like a lot of like gen z you'll see it now 00:49:38.309 --> 00:49:42.429 like the goth look the metal goth look is like 00:49:42.429 --> 00:49:44.469 really coming back which is very much almost 00:49:44.469 --> 00:49:47.409 feels like of the 2000s you know with like my 00:49:47.409 --> 00:49:52.070 chemical romance and you know Marilyn Manson, 00:49:52.070 --> 00:49:53.849 that whole look when that was a thing and the 00:49:53.849 --> 00:49:56.510 early Hot Topic thing in the 2000s, that's starting 00:49:56.510 --> 00:49:59.269 to come back now, which is very strange because 00:49:59.269 --> 00:50:01.730 I remember seeing that. So it's like, it's weird 00:50:01.730 --> 00:50:03.769 that it's coming back again. Maybe it never went 00:50:03.769 --> 00:50:05.670 away, right? I get it. You guys are also doing 00:50:05.670 --> 00:50:07.809 it for nostalgia because I watch a lot of young 00:50:07.809 --> 00:50:13.869 Gen Z collectors and they really go for the nostalgia. 00:50:14.619 --> 00:50:17.019 of things and also like trying to push away from 00:50:17.019 --> 00:50:19.780 streaming and i feel like that that is really 00:50:19.780 --> 00:50:23.000 coming full circle now and a lot of it just really 00:50:23.000 --> 00:50:25.980 comes back a lot of these uh trends a lot of 00:50:25.980 --> 00:50:28.079 these collections they they really do make their 00:50:28.079 --> 00:50:32.280 way back yeah no absolutely i think that uh it 00:50:32.280 --> 00:50:36.260 is important you know to to maintain those elements 00:50:36.260 --> 00:50:39.099 from the past because i think that uh It's important 00:50:39.099 --> 00:50:41.260 for things to live on. You know, it's like you 00:50:41.260 --> 00:50:43.500 say Freddie's name, Freddie will stick around 00:50:43.500 --> 00:50:46.639 in memory, right? Don't forget him. Same thing 00:50:46.639 --> 00:50:48.840 with, you know, this is always that, you know, 00:50:48.860 --> 00:50:51.039 Pennywise or Lord Voldemort, right? It's like 00:50:51.039 --> 00:50:53.260 you say the name, they stick around. So it's 00:50:53.260 --> 00:50:55.440 the same thing with nostalgia or anything old. 00:50:55.659 --> 00:50:58.440 So the release is coming out from

Coffin Maker. 00:50:58.719 --> 00:51:01.440 How did you guys come to that? Yeah, I mean, 00:51:01.440 --> 00:51:06.070 he just... hit me up i followed him i sent him 00:51:06.070 --> 00:51:07.969 the movie and he hit me up and he seemed to like 00:51:07.969 --> 00:51:09.789 the aesthetic of what the movie was offering 00:51:09.789 --> 00:51:13.110 which i was like oh cool and he was like i hope 00:51:13.110 --> 00:51:16.130 you trust me with the process and yeah i figured 00:51:16.130 --> 00:51:19.269 why not you know i mean we've done some other 00:51:19.269 --> 00:51:21.909 releases in some other category with other distributors 00:51:21.909 --> 00:51:24.489 for other projects but not hischgenstein and 00:51:24.489 --> 00:51:27.150 i was just kind of open to doing something new 00:51:27.150 --> 00:51:32.139 with it um because you know i didn't see it ever 00:51:32.139 --> 00:51:35.780 getting a release from like, you know, Vinegar 00:51:35.780 --> 00:51:37.719 Syndrome or anything like that. And I was kind 00:51:37.719 --> 00:51:41.039 of like, okay, well, not that I don't like Vinegar 00:51:41.039 --> 00:51:42.780 Syndrome, I do, but it's just I didn't see them 00:51:42.780 --> 00:51:45.519 ever releasing it. And then I was still figuring 00:51:45.519 --> 00:51:47.500 out the streaming rights and getting all that 00:51:47.500 --> 00:51:49.900 figured out and haven't really even gotten to 00:51:49.900 --> 00:51:53.420 the process of doing physical media. So, yeah, 00:51:53.420 --> 00:51:56.019 I was just really happy that he wanted to do 00:51:56.019 --> 00:51:59.110 it. It just happened to line up with the streaming 00:51:59.110 --> 00:52:01.849 release date too. So how about that? Is there 00:52:01.849 --> 00:52:04.409 anything that you're including in the Blu -ray 00:52:04.409 --> 00:52:07.289 release? Any audio commentary? What can we look 00:52:07.289 --> 00:52:10.530 forward to? Audio commentary, not really deleted 00:52:10.530 --> 00:52:15.030 scenes, but some new artwork, clips, little short 00:52:15.030 --> 00:52:17.230 films, and of course the inclusion of the first 00:52:17.230 --> 00:52:20.349 film, Bad People Doing Bad Things. So that'll 00:52:20.349 --> 00:52:24.000 be cool. All right. So Gary, before I let you 00:52:24.000 --> 00:52:25.980 go, I have one final question for you. After 00:52:25.980 --> 00:52:29.380 everything you've learned so far, why do you 00:52:29.380 --> 00:52:33.179 think it's important to keep making films? To 00:52:33.179 --> 00:52:36.119 continue to create new art so that it will continue 00:52:36.119 --> 00:52:38.559 to inspire others to do their own type of art. 00:52:38.940 --> 00:52:41.119 Because everything that we do is inspired by 00:52:41.119 --> 00:52:43.960 something else, whether that's music or, you 00:52:43.960 --> 00:52:46.920 know, film or something we see, architecture, 00:52:47.460 --> 00:52:53.409 you know, a memory. So it's inspired in some 00:52:53.409 --> 00:52:56.010 way. And, you know, it's keeping that going in 00:52:56.010 --> 00:52:58.090 whatever way that you can and paying tribute 00:52:58.090 --> 00:53:00.130 to what came before, but finding your own way 00:53:00.130 --> 00:53:02.570 to make it yours and do something new. But at 00:53:02.570 --> 00:53:04.369 the end of the day, still remain entertaining 00:53:04.369 --> 00:53:07.090 because that's your job. So entertain. And just 00:53:07.090 --> 00:53:10.769 to remind audiences the dates again for Fortunato's 00:53:10.769 --> 00:53:14.409 Descent and for Hitchkinstein. So we don't exactly 00:53:14.409 --> 00:53:17.050 have the dates for Fortunato's Descent yet when 00:53:17.050 --> 00:53:19.369 it's actually going to be showcasing, but that 00:53:19.369 --> 00:53:22.210 will be announced soon. So I can keep them up 00:53:22.210 --> 00:53:24.250 to tabs if they want to check out my social media, 00:53:24.449 --> 00:53:28.230 Ed Gerskera on Instagram or Ed Wickerstick's 00:53:28.230 --> 00:53:30.250 Entertainment on Instagram, or they can always 00:53:30.250 --> 00:53:32.409 go to the YouTube channel, Ed Wickerstick's Entertainment 00:53:32.409 --> 00:53:36.050 as well. Hitchkinstein After Dark, the Blu -ray 00:53:36.050 --> 00:53:39.150 will be dropping at some point in October, late 00:53:39.150 --> 00:53:41.909 October, so they'll be able to pre -order a copy 00:53:41.909 --> 00:53:44.630 of it very soon. Awesome. I will keep them posted 00:53:44.630 --> 00:53:47.309 as well because I'll be sharing that in my stories. 00:53:47.469 --> 00:53:50.130 So again, just repeat to them where they can 00:53:50.130 --> 00:53:52.570 find you. I'm going to link all your social medias 00:53:52.570 --> 00:53:56.150 and all your websites here below. So yeah, they 00:53:56.150 --> 00:54:00.989 can follow my Instagram at gare underscore scare. 00:54:01.090 --> 00:54:04.349 So at gare scare or at wicker sticks entertainment. 00:54:04.969 --> 00:54:08.570 And they can also go to the YouTube channel wicker 00:54:08.570 --> 00:54:10.869 sticks entertainment and check out any new stuff 00:54:10.869 --> 00:54:13.260 there as well. All right. Thank you so much, 00:54:13.260 --> 00:54:15.579 Gare, for being with me here today. Don't forget 00:54:15.579 --> 00:54:19.500 that you can follow me at krpotlab .com. And 00:54:19.500 --> 00:54:23.519 you can also follow us on Instagram at thephysicalcutpod. 00:54:23.579 --> 00:54:25.300 Thank you for listening to The Physical Cut, 00:54:25.380 --> 00:54:26.980 where films live beyond the stream. And I will 00:54:26.980 --> 00:54:28.039 see you guys next time.