Inside Independent Horror: Gare-Scare on Filmmaking & Hishkenstien: After Dark

WEBVTT
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I mean, it's just like your movie is appreciated
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by people. You know, it's like, oh, that's a
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cool classic. You know, like people, they, I
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don't know, they take themselves too seriously.
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Welcome back to The Physical Cut, where films
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live beyond the stream. My name is Carlos, and
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today I'm joined by filmmaker. Gare Scare, all
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the way from Czech Republic. How are you doing
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today, Gare? I'm doing super. Just, uh, it is
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around 8 .30 here in the Czech Republic. Uh,
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end of summer, fall is tuning in. I've got my,
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uh, pumpkin dude here joining me to provide the
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light. So, feeling extra spooky. So, yeah. Yeah,
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we over here at The Physical Cut started spooky
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season early. I really hate September. But here,
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today we had talked on Instagram because you
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have two upcoming films. Basically, back to back,
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you have one coming out in New York during a
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film festival and you have an upcoming physical
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media release also coming up. Soon we're going
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to get to talk about that. But before we do,
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I want the audience to get to know the filmmaker
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behind this film. So you are creator of the company
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Wicker Sticks Entertainment. Can you tell me
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a little bit about the company and the idea behind
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it? Yeah. So, I mean, Wicker Sticks Entertainment,
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it's just basically, you know, the idea is to
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create genre films and to be as outside the box
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as possible and not really being afraid to just
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be wholly you and unique. specifically within
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the sci -fi, crime, horror, you know, whatever.
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And I like to do what I can to work with, you
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know, neurodiverse people or people who have
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mental illness. But I try to not make that the
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portrait of, like, what we're about. But it's
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more about, like, pushing an effort to try and,
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like, work with people in that category. Because
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I don't... I to me it's it's it's less about
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like because a lot of the time when you see things
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like oh we're all about like inclusivity but
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like they make it only about that you know and
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then it becomes like well like are you taking
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away like the creative efforts of this person
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are you just platforming them because of like
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they identify as this or whatever and to me it's
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like or they have this or they have some kind
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of disability and to me it's like it's more about
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what you have to offer as a talent and then you
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know if you have that and you happen to have
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that and then it's even better right it's a new
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form of inclusion you know but it's all about
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like i don't want to be patronizing to anybody
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you know and i think sometimes things can come
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across as patronizing and uh yeah just also really
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pushing um the idea of bringing back older films
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and presenting them in a new light which is why
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I've hosted various event coordination -type
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ceremonies with companies like Troma and, you
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know, Something Weird Video and a couple other
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things here on the horizon. I like to bring older
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movies and present them in a new light akin to
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directors like William Castle. who's probably
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my biggest inspiration from a filmmaking perspective
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and from the side of being entertainer next to
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Alice Cooper. If I could put two together, it'd
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be Alice Cooper, William Castle. And then I hope
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that I can, you know, somehow pay homage to both
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of them in whatever way that I can. So yeah,
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both entertainers at the end of the day and showmen.
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So that's what I try and do. No, I totally agree
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with the part when you also mentioned about people
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with that are not just, you know, necessarily.
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actors who are on the spectrum or neurodivergent.
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But like you said, it's not about making their
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situation personally into a shtick. Like you
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said, it's about, oh, this is who you are. No,
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this is what I have. It's not who I am. And just
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recently I interviewed, I was having a collaboration
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with Jenny from The Crib. She's a podcaster from
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Spain and she's a horror content creator. And
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her and her sister were diagnosed with adult
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ADHD. And, you know, they don't make it their
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personality, but they take what they know and,
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you know, what they go through and apply it to
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horror. So it was a very interesting take that
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it's like, we have this diagnosis. But this is
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not who we are. And we can enjoy horror, but
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when we're enjoying horror, we are looking at
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it from this perspective of ADHD. And it was
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such an interesting idea. And that's why I sat
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down to talk to her. And I do love people who
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not just want to bring back older films, but
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at least present them to a new audience. And
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that's something that I always applaud because
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a lot of people just... go by what's new and
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especially younger people are the ones doing
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this i feel like other other people just kind
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of gave up absolutely and i think that you know
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that sentiment is something i hope that a lot
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of people can kind of i guess see or connect
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with because a lot of these older films you know
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they might have more of a sentimental value to
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people And to me, it kind of ties back to why
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I like film to begin with, because film is like
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it's a time capsule. So, you know, you're creating
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something in one period of time. It's going to
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sit there and it'll represent whatever the fears,
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you know, with that, you know, current zeitgeist
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or whatever people are going through. Or, you
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know, if it's something political, you know,
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like the movie Network in the 70s, like what
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people were feeling post Watergate, for instance,
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or movies like Red Dawn during the Cold War.
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in the 1980s so i think that like you know these
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films will come back and they'll find ways of
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being appreciated somehow again in the future
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you know it's like when i talk about how history
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repeats itself and finds new ways of becoming
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more relevant as time goes on uh especially silent
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films uh i have the most fun with like wanting
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to re -watch and represent silent films There
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is something that I'm currently working on that
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is a very large project that involves a silent
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film that I cannot wait to share with people.
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But yeah, to me, it's like, how can that not
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just be repackaged, but how can it mean something
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to people today? And that's why I'm not totally
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against all movie remakes. I think there's some
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really good remakes that have something to say.
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When coming out again, we would never have something
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like John Carpenter's The Thing akin to The Thing
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from Another World. Those are both different
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movies of different times, very similar. Even
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Evil Dead and Evil Dead 2013, they came out at
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different times. Evil Dead 1981 is very much
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a campy cult movie, and then you have the 2013
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one, which is almost like walking into a live
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-action black metal album cover. It's like they
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have different aesthetics, different feelings.
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i'm not totally against it i just think is if
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if it's kept relevant and it makes sense and
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it means something to that future generation
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then the movie and the art is going to find a
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way to live on so yeah basically you your knowledge
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of a film is pretty good because we were talking
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earlier before we started recording and bringing
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up the network is a good example of some i don't
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think the network should be done uh remade just
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because it still kind of reflects the society
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we are today so i don't think some of those films
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need a remake necessarily they they still hold
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up but you as a filmmaker what was the moment
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or what was the movie that made you want to create
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films um It's tricky because I would say it started
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as early on when my dad showed me Jaws when I
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was three years old and my mom was insanely angry
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at him for it. That's good parenting. Well, my
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dad knew that I loved the ocean and because my
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dad is a commercial fisherman in Alaska for a
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really long time. and he knew how much i loved
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sharks and you know he wasn't thinking it wasn't
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like a big deal and to me it's like apparently
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it was pretty traumatizing to me back then that's
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what they both say but i don't remember that
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but to me it's like jaws ever since like i was
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a kid has been something that has just been like
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so personal and close to me because i love nautical
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stories i don't just love like horror you know
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slasher all that like to me like uh what made
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me want to get into film is like monster movies
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you know and to me it's not even about horror
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because horror to me sometimes loses it when
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it loses the fact that it's still a movie I like
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movies that know that they're movies and I don't
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particularly like watching films that are like
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cruel or have like torture or really gross stuff
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in it you know like irreversible like Serbian
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film or stuff like that you know that's not for
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me I don't even really like to about as far as
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i can go in that direction like saw maybe but
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like even for me like those movies sometimes
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can be too much like to me i'm more like i really
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love like the classic monster stuff like i love
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the universal monsters i love um the giant gila
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monster an american werewolf in london uh the
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howling you know salem's lot uh and you know
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even like the 50s you know like the green slime
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or tarantula frankenstein meets the wolfman like
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that's more me what speaks to me as a filmmaker
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and what makes me want to create because those
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are you know their experiences their movies their
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shows and to me like going to a film and being
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a filmmaker being a creator i don't think a lot
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of people see it this way and that's totally
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fine but from my perspective i think your number
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one priority instead of inserting yourself or
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inserting some kind of message or you know having
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some kind of statement which you know like i
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said this is just my sentiment if somebody is
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paying to go see something you're creating right
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your number one goal should be to entertain first
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off my opinion is to entertain because like kind
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of like you know you see some guy that you know
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ringleader that runs a circus you've ran a bad
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circus right the animals all get out um the clowns
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are slipping and falling on their faces and not
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in a fun way you know and just the you know there's
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no organization and the guy you know catches
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himself on fire jumping from the fire hoop it's
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it's a mess right so you have you ran a bad show
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so i think the same thing is kind of like if
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you're setting out to make a movie and nobody's
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entertained everybody's bored uh everybody's
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miserable everybody's disgusted to me it's like
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there's a happy medium there's a happy balance
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and there's a way to do that while still being
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a movie at the end of the day. It's still a show.
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It's the greatest industry in the world. Honored
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that and creating something cool, I guess. Not
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to sound pretentious. I hope I don't sound pretentious.
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I feel like going with Universal Monsters, a
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lot of filmmakers do kind of like go back to
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that era. And it's not just because of, I would
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say, because they're Universal Monsters and they're
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a classic. I feel it's also the way that things
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were made. At least for me, it's like, you know,
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you have these big sets and you have this big
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production quality and the makeup and the costuming.
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And yeah, sometimes the scripts were here and
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there, you know, not all of them are, you know,
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Academy Award winning screenplays. But, you know,
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most of them, there's that atmosphere that you
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don't get in a lot of films today. Oh, yeah.
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I feel like now. Uh, 2026 is probably the one
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year that I would say kind of stands out in horror
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because I feel like not just the new filmmakers,
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um, but it's also not oversaturated with remakes
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or sequels and you get to see a different quality
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of horror and different ideas of horror too,
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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
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shit going on around your house and you're looking
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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
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on your headset and you hear something within
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the song and you're like, wait, was that inside
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my house? So there's different ideas coming up
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that really have. made 2026 at least for me even
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though if the movie was good or bad that that
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has nothing to do with the point but it is more
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the ideas the new ideas that are being created
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today and you can just go back to like the 1930s
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with all these films that you know became legend
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basically i i know damn well that anything that
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i'll create because i just know that it's just
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what I like to do. It's subjective and, you know,
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about half the room is going to like it and the
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other half probably going to hate it, you know,
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but it's the same thing with, with film, you
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know, I think it's, it's designed to be subjective.
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I think if you set out to please everybody in
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the room, it no longer starts to feel fully like
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art. But like I said, it's still, you know, you're
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still your responsibility to be somehow entertaining,
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you know? So, so entertain, entertain, dance
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puppet. You know, I would say, I would say just
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keep creating because you never know what's going
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to hit and you know, what's going to flop. So
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at the end of the day, you just have to be creative
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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,
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where films live beyond the stream. And I will
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see you guys next time.