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Hey, welcome everybody.
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This is Chris Haskell of a few different shows, but
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I am super excited to introduce a new show called
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brain Melt. And before we talk too much about it,
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I want to introduce the originator of this, the Brainchild,
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the mad Genius, Bill Campbell.
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Bill, how are you?
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Hey, how's it going, Chris? I'm good.
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I'm excited to be doing this with you, and yeah,
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really looking forward to this awesome.
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Well, we are in episode zero, as you can tell,
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so we thought we would use this as a way
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to just kind of introduce the origin of the idea,
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the structure of the show, and I tell you why
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we're excited about it, and then we'll be recording episode
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one here just in a few weeks, so we won't
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have to wait too long before you hear a regular show.
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But but Bill, this all started we recorded a podcast
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about a month ago, now, maybe maybe two months ago now, shit,
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I don't know, But it was because of your love
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of Mondo micabre right that kind of got us going.
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So do you.
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Remember, like do you want to just walk through like
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the in your brain? What took us from doing you
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being a guest on the Mondo Micabro fan Fair episode
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which everybody should listen to to today.
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Yeah, definitely. So, like you said, huge fan of Monda Micabro.
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Dating way back and getting to be part of that
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podcast was like sort of a dream come true. So
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we had so much fun doing that episode, just the
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two of us, and our our report was really good,
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and it was an outlet that I had never really
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explored before, and so I started thinking about it after that.
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And the original idea for this was going to be
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like a substack kind of thing, and I was gonna
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do weekly posts or whatever. It was going to be
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about just outsider, weirdo cinema that had really started to
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get me excited.
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But then thinking more about it.
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I really liked the idea of talking, you know, like
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vocalizing my love for these movies. And as soon as
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I started thinking about doing it, I thought about doing
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it with you because we had such a good time,
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and thankfully I pitched it to you, and you I
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thought for sure you were going to shoot me down
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and say that you weren't interested or you had too
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much going on, but you you jumped right in and
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we've been playing this for a little while now, so
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I'm super excited to get the ball rolling.
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And I'll tell you exactly what hooked me.
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There is this there's this thread that I can't wait
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to explore with you here over the next twenty years
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or whatever.
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It is.
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Of elevating the discussion around SOOV movies, regional horror movies
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that typically get looked over because they don't follow the
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regular Hollywood beats of what a movie should be.
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You use the term outsider art. That's a great term.
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And you know, I have a personal history of really
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like kind of evolving into loving those movies, not ironically,
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but just loving them. And even today I was championing
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for intensive care and getting a lot of shit for it, right,
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And I think you share that, and so it's a
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cool I will get into the structure of the show
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in a moment, but that core kind of philosophy that
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you have to really really hooked me in because I
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think there's a cool way to bring up the discussion
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around movies that other people look over.
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Yeah.
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So the origin of this whole thing, I started to
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make a list on letterbox of.
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At the beginning, it was just weird movies.
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And when I say weird, I mean just like whether
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it was thematically very strange or structurally bizarre things that
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maybe you know, unpolished, sort of unfocused, but there was
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really pure ideas there and a level of artistry that,
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you know, was just so evident. So I started compiling
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this list on letterbox and it grew and it grew
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and it grew, and I think it right now, it's
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around like six hundred and fifty titles at the point.
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And the more I started to go through these, I
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realized a couple of things. One was that a lot
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of my interest in movies these days is with those
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types of films, right the movies of Doris Wishman, you know,
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really started to grab me. Jess Franco another huge, huge
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influence on me. Movies where usually when we bring it
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up in discord or in conversations, people kind of sneer
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at it, they kind of turn their noses up at it.
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The people who do get excited about it, and I'm
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not saying they're not excited for the right reasons, but
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a lot of what we would see would be people
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being like, oh, yeah, all those movies are terrible, they're
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so funny, Like yeah, watch watch them, you know, with
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a bunch of friends drunk, and that's sort of like,
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I get that that's fun. I totally see how watching
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Final Flesh with a room full of drunk buddies is
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a good time. But at the same time, I think
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there's something to be said for watching those movies, either
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solo or through sort of like a more serious, critical
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kind of lens, because there's so much passion and creativity
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on display in those movies. And so one thing that
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I really hate is when people say something is so
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at it's good. I just that that whole phrase just
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rubs me wrong, because I think you're you're you're taking
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away from what that filmmaker's intention was, or you know,
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the work that they put into it. In the in
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the passion, you're sort of looking at it as like
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you're enjoying it ironically, and I I kind of hate
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that type of irony.
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So yeah, I think that's sort of what our goal
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here is.
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It's to to take these movies that maybe get kind
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of laughed at or sneered at, or they don't get
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the respect that I feel like they deserve, and we're
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gonna talk about them. We're gonna we're gonna enjoy them
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and listen, We're gonna laugh because there's a lot of
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to laugh at. But at the same time, we're really
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gonna like, we're gonna love these movies, and we're gonna
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talk about them in a way that hopefully gets other
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people excited to maybe watch them.
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In a way that they hadn't previously.
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Yeah, I love it.
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Yeah, I think that there's something in My first real
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kind of awe moment was watching Flesher Frankenstein. And I
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remember maybe this was ten years ago now, I don't
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know what, fifteen years ago, whatever it was, but I
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remember watching it and being like, man, that's fucking awesome.
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They just they went for it right, Like, and people
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talk about the overacting. No, that's not overacting. That's an
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intentional choice to be theatrical, right, And like there there's
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this idea that I give. I give some people in
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our discord a little bit of shit over saying like,
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what's a good movie, because they they'll be very quick
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to dismiss putting chopping Mall in my top ten because
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it's like that's not real art, right, and or bad
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pussy saying that shouldn't be in my top ten whatever, right,
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And like I get where they're coming from. There's these
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canonical films that we've been told are the best, and
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like it's hard not to say that, I don't know.
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Seven Samurai is not like a top ten movie. I
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get it. I get that pressure. But each person's top
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one hundred list should look different for me, right absolutely,
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And like if you love a movie, just fucking love
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the movie, like you don't have to make apologies for it,
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like if it catches you and it hooks you. Like
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I'm getting a lot of shit right now for liking
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a movie called Horror from Beyond, which was the one
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that everybody keeps talking about as the first movie from
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Revivor too.
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Oh yeah, yeah yeah.
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But man, like as I'm watching that, I'm watching the
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shadows move across the scene, I'm watching the depth of
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black and white contrast. I'm watching really weird, quirky choices
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made to like that the director left in to make
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the movie more interesting, and I'm just like hooked to that.
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I'm like, I'm seeing that movie is gonna make my
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top one hundred. But like, I love that movie. I
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don't care if everybody hates it, Like its just and
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that's that's the kind of thing that for me, like
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exactly what I want to do with this podcast, and
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I think you're on board, is say, hey, this movie
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that was lost for a long time would be a
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perfect pair with say June Suzuki movie, and explore this
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idea trying to pair it pair like a forgotten or
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an outsider art or a exploitation movie or some dark
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horror movie with something that's more classically recognized as like
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a canonical cinema film. And I think that that conversation
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just naturally allows that bridge to happen more freely and
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for people to see that directors are trying to do
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the same things. They may have a different budget, they
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may have a different experience in the film industry, they
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may have a different polish, but like they're trying to
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set out to do the same thing, right, And that's
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what I really am excited to explore here.
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Yeah, so you you were the one who pitched that
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idea of pairing these canonical high art house movies with
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these outsider, you know, sort of oddball you know, warts.
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And all kinds of movies.
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And and that's great because that that cuts to the
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heart of like what I was trying to do, which is,
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you know, sort of see them through that more serious lens.
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And when I say serious, I don't mean like we're
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not going to deconstruct, you know, a night to dismember
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and be like, ah, this is actually genius, brilliant high art. No,
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Doris Wishman was flying by the seat of her pants.
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She was, you know, using very little money, but she
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was using her creativity. And that's what we want to celebrate, right,
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that creativity, that success in the face of defeat, however
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you want to call it. But something you just said
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was really interesting, right, like talking about how you're getting
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some shit for some of the movies that are on
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your top top one hundred, their top fifty list. And
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it's it's weird because even me, like this has not
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been something I came to quickly, like these realizations that
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I'm kind of going through and these like new these
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ideas that are for me. I'm sure plenty of people
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that are gonna be listening are like, yeah, duh, we've
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been I've been talking about this for years. But like
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on my letterbox, right, like I have a list of
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my top twenty five movies, right, but then I have
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a separate list that's like titled something like my Top
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twenty five list with no regard for like you know,
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artistic merit, right, And it's certainly like dawn to me
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that like why have two separate lists, right, Like why
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do it?
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Why not meld those? Right?
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So you know, something like mad Max Fury Road is
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already on my top twenty five official you know, quote
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unquote list. But I was getting shit in our discord
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for having money python and you know, in the Holy
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Grail on there, and I'm like, that's a to me,
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that's a classic, canonical like one of the best comedies
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ever made. That's something that everybody should respect. And everyone's
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like shitting on it. And I'm like, wow, man, really,
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this whole like this whole idea of like if it's
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at all corny, it's at all weird, like it's somehow
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less than you know, a woman under the influence or
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something like that.
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It's really pervasive. Yeah, yeah, And I think.
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It's I think it's sort of like antithetical to the
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spirit of film, of cinema, of art, right, like saying like, well,
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these are the serious movies, these are the things that
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we should really be valuing, and these are the things
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that are just like junk food trash movies, and it's
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like it used to be like, oh well, I like
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to enjoy junk food trash movies. But it's like, hold on,
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let's let's think about like, is Night to Dismember a
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worse horror movie than John Carpenter's Halloween?
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Is it?
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Is it a budgetary issue? Is it a creativity issue?
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Like there's there's a lot of parallels there. You know,
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one's not necessarily better or worse than the other, Right, So.
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Yeah, and I think that you see this if you
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take it outside of movies for a moment, you get
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in the art world, this parallel becomes a lot easier,
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right because in one museum you'll have like a Renaissance painting,
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and you'll have not existential what's it called experimental.
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Art, and you'll have like.
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All these different types of eras and genres and styles
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impressionistic paintings, right.
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You'll have all these surrealist is the word I was
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looking for? Thank you? Yeah?
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Yeah, You'll have all these different things, like, and they're
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all under one roof.
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So people in the art world.
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Have already kind of accepted that there's no such thing
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as one form of beauty, right, And so I like,
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I like this idea of being part of something that
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you know, you said you were inspired by Bleeding Skull,
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and I love that because, right because what Annie and
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Joe are doing there is amazing, right, And I like
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this idea of treating movies as art as opposed to
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just movies, because art there's like a much longer history
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to hold from into draw analogies too, And that helped
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me shape the way that I saw Flesher Frankenstein and
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help shape the way that I see Scooter McCrae movies,
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because that dude's a fucking artist man, Like, yeah, he
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makes movies for one thousand dollars, like five thousand dollars,
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and they're better than ninety percent of the stuff that's
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out there. Right, So, like anyways, we're just kind of
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going in circles now, but like I think we're all
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I think like this, there's something really wholesome in this
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in a weird way that I'm excited about exploring and
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something that I'm very passionate about. So I'm very happy
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you asked me to join on this journey.
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I think I think right now is sort of a
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perfect time.
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Okay, So two things, right, One, the reason I felt
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like now is a good time for this is we're
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obviously seeing like physical media has been booming for years,
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but right now I think we're at like we're at
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this point where there's so many labels, so many labels
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with sub labels, you know, it's it's becoming this like
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really large thing, like larger than it's ever been. And
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there's movies coming out now on four K that like
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nobody ever thought we'd see even a blu ray of.
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There's lost movies that are making their way now into
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like the collective conscience. You've got labels like you know,
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Visual Vengeance putting out like these SOV movies and these
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eight millimeters sixteen millimeter movies that nobody's even talked about
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in years and years. So I think now's the right
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time to try to like just start looking at these
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things a little bit differently. Like when it was just
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more reissues of movies we'd seen a hundred times on disc,
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like that's a little less exciting, But now I think
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it's like a really exciting time to do this. And
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then the other thing I'm gonna say is like that
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was sort of my worry something you said when I
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started thinking about doing this and sorry, my cat's reb
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INU his face on my phone. He just jumped on
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my lap and he's like, pay attention to me, bleeding skull.
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Like I never want to my influences or the people
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who really inspire me like I.
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And that was my fear.
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Was, like, man, Joe and Annie just do such an
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incredible job. Like I've I've been reading their stuff for
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years and just like I've always been in awe of
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their curation, of like their dedication to their their you know,
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mission statement. Annie's writing specifically has always been a huge
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inspiration to me because it kind of showed me that
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writing doesn't have to just be academic to be interesting.
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You can also just write from the gut. I was
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gonna say from the heart, but with Annie, I feel
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like it just comes straight from the gut. Yeah, And
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it was sort of freeing to think about that. So
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they've been a massive influence on me, not just my
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watching but my writing and everything like that. So I
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would never want to like ape their style or copy
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but I think they're doing their own kind of thing
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and hopefully like this can be a good sort of
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almost like sister to that, but in a different way.
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So yeah, definitely inspired by them, inspired by Monto Macabreau.
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Like these these companies and these entities and these people
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who are just like doing just such amazing things.
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Well I said around doing nothing.
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You know, there's one more There's one more thing I
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want to add to that.
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I like.
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I like what you said a lot. They're another good
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reason for the timing of this, if we want to
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just pat ourselves on the back here for a minute,
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is there's a whole generation of people coming up now
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that don't have the same movie background that we do.
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Right, So, like.
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Remember in the Discord, someone's excited to watch a never
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ending story for the first time. That blew my mind.
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But like, yeah, I mean that was cool to see.
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Yeah, Like imagine experiencing the magic of that movie for
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the first time, right, That's so awesome.
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Yeah, And you know, to to just respond to that,
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And that's what I hope is like that was really
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exciting to see that, And I hope that they are
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able to watch that and not look at it through
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like an ironic lens, right, like not look at it
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and go like, ohh these effects are a little dated
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or this is a little you know whatever, Like just
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just sink into it, man like, because that one is
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crazy and there's just so many bizarre, beautiful images, and
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the story has layers and heart, like, just give yourself
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over to it, right, like in general, when you're watching movies,
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just just give yourself to the movie. Like, don't sit
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there and try to academically dismantle it, don't criticize it
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while you're watching and be like, oh that was goofy,
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that was corny. Just just sink into it. Let your
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brain melt exactly.
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I love that.
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That's probably the perfect way to end the intro, and
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then I think it's probably worth mentioning the structure for
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a few moments.
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So yeah, I think the easiest way to do this
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is going to be.
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To do we each look at the beginning. We'll start
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from your list, right, There's been a lot of curatorial
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effort that goes into that list, So start from that list,
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we each pick one, and then as we watch it,
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the hope is that there's some you know, art house
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film or historically recked, you know, celebrated movie that we
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we find a parallel to or connection to, and we'll
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surprise each other live on the show with what that
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what that ideal pairing would be and then kind of
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why we think it would make a good pair uh,
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And so I think I feel like that's a fun
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way to not only talk about the movie itself, but
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then also draw some parallels and whether it's themes or
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shooting style or you know, whatever it is, to to
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elevate the discussion to to that level.
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Yeah, for sure.
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And I think when when it comes to that, it's
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not necessarily gonna be a movie that you know, there's
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there's obvious pairings, right, Like, there's obviously obvious pairings where
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you're gonna take some if you watch The Seventh Curse
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and then you go, I'm gonna pair it with you know,
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The House. Okay, that's obvious. You know, they share a
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lot of crazy imagery and stuff like that. But it
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doesn't have to be that, right, It doesn't have to
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be country, it doesn't have to be theme. They could
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be all kinds of things. Maybe it's even just Hey,
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I think this would make for a good double feature.
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This could be a fun you know, bounce from one
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to the other. So I think a lot of interesting
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conversation is gonna come out of that. I think we're
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gonna like really surprise each other with some of these things.
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And but I like that the idea is something that
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is sort of like canonically respected, you know, sort of
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doesn't have to be from Criterion collection, but something that's
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like in that Criterion sort of electicon exactly. Yeah, So
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now that's gonna be really exciting. And yeah, each week
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we're gonna each pick a movie, we each watch both
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those movies, and we come to the table, you know,
390
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ready to discuss and sort of.
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Kind of deconstruct.
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00:20:52.640 --> 00:20:55.559
And just talk about why, you know, why this movie
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that maybe people sort of turn their noses up at
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or see as a little less than more artistic efforts
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00:21:03.759 --> 00:21:08.599
really deserves their time and their like sort of watching
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and thinking about it a little bit differently, and we're
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just gonna have fun with it.
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00:21:12.680 --> 00:21:15.000
You know, Like I see a lot I foresee a.
399
00:21:15.000 --> 00:21:17.160
Lot of time spent laughing, and just like you know,
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00:21:17.960 --> 00:21:20.440
I think the important thing to remember is we're not
401
00:21:20.519 --> 00:21:23.079
laughing at these movies, if anything, will be laughing with
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00:21:23.119 --> 00:21:27.079
them while we celebrate what makes them so wonderful.
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00:21:27.839 --> 00:21:30.960
Yeah, and not ignoring insane things, because some of these
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00:21:31.000 --> 00:21:32.400
movies just have insane things.
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00:21:33.640 --> 00:21:37.000
So just to give everybody like a spoiler, like a
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00:21:37.000 --> 00:21:41.680
little taste the two movies that we are watching and
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we'll be talking about in the first episode that'll be
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00:21:43.920 --> 00:21:48.559
coming are I've already mentioned it, Doris Wichman's Night to Dismember.
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00:21:48.759 --> 00:21:49.839
That was my choice.
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00:21:50.759 --> 00:21:52.839
Anything that gives me an excuse to watch this movie again,
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00:21:53.200 --> 00:21:55.920
I'll take it. And Chris, what was your choice?
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Juan Picquerre Simon, otherwise known as a nineteen eighty two classic.
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00:22:03.480 --> 00:22:07.480
Pieces, Oh Chef's Kiss? What a pick?
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When you chose that? I was you could you couldn't
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00:22:11.599 --> 00:22:15.400
see it? I was giddy with delight. I hadn't watched
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that movie since I saw it in the theater a
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repertory screening thirty five millimeter in Boston.
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Couldn't Yeah, Yeah, that was That was something man really excited.
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I was so excited to revisit it again and it
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did not disappoint one bit. So I can't wait to
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talk about it.
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Sam, awesome, Well, I can't wait. We'll be back soon
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with episode one.
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Bill.
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I'm excited for this.
426
00:22:41.839 --> 00:22:42.599
Yeah, me too, Man.
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I hope you know, at least one other person out
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there gets something out of it. But if it just
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ends up being you and me talking into the void
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about these things. Hey, you know, I'm okay with that too.
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We'll find, we'll find our audience.
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N Yeah, thank you for listening. To hear more shows
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from the Someone's Favorite Productions podcast network. Please select the
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link in the description
1
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Hey, welcome everybody.
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This is Chris Haskell of a few different shows, but
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00:00:29.760 --> 00:00:33.719
I am super excited to introduce a new show called
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00:00:33.799 --> 00:00:35.960
brain Melt. And before we talk too much about it,
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I want to introduce the originator of this, the Brainchild,
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the mad Genius, Bill Campbell.
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Bill, how are you?
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Hey, how's it going, Chris? I'm good.
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I'm excited to be doing this with you, and yeah,
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really looking forward to this awesome.
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Well, we are in episode zero, as you can tell,
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so we thought we would use this as a way
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to just kind of introduce the origin of the idea,
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the structure of the show, and I tell you why
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we're excited about it, and then we'll be recording episode
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one here just in a few weeks, so we won't
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have to wait too long before you hear a regular show.
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But but Bill, this all started we recorded a podcast
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about a month ago, now, maybe maybe two months ago now, shit,
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I don't know, But it was because of your love
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of Mondo micabre right that kind of got us going.
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So do you.
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Remember, like do you want to just walk through like
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the in your brain? What took us from doing you
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being a guest on the Mondo Micabro fan Fair episode
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which everybody should listen to to today.
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Yeah, definitely. So, like you said, huge fan of Monda Micabro.
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Dating way back and getting to be part of that
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podcast was like sort of a dream come true. So
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we had so much fun doing that episode, just the
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two of us, and our our report was really good,
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and it was an outlet that I had never really
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explored before, and so I started thinking about it after that.
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And the original idea for this was going to be
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like a substack kind of thing, and I was gonna
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do weekly posts or whatever. It was going to be
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about just outsider, weirdo cinema that had really started to
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get me excited.
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But then thinking more about it.
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I really liked the idea of talking, you know, like
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vocalizing my love for these movies. And as soon as
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I started thinking about doing it, I thought about doing
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it with you because we had such a good time,
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and thankfully I pitched it to you, and you I
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thought for sure you were going to shoot me down
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and say that you weren't interested or you had too
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much going on, but you you jumped right in and
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we've been playing this for a little while now, so
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I'm super excited to get the ball rolling.
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And I'll tell you exactly what hooked me.
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There is this there's this thread that I can't wait
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to explore with you here over the next twenty years
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or whatever.
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It is.
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Of elevating the discussion around SOOV movies, regional horror movies
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that typically get looked over because they don't follow the
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regular Hollywood beats of what a movie should be.
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You use the term outsider art. That's a great term.
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And you know, I have a personal history of really
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like kind of evolving into loving those movies, not ironically,
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but just loving them. And even today I was championing
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for intensive care and getting a lot of shit for it, right,
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And I think you share that, and so it's a
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cool I will get into the structure of the show
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in a moment, but that core kind of philosophy that
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you have to really really hooked me in because I
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think there's a cool way to bring up the discussion
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around movies that other people look over.
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Yeah.
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So the origin of this whole thing, I started to
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make a list on letterbox of.
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At the beginning, it was just weird movies.
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And when I say weird, I mean just like whether
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it was thematically very strange or structurally bizarre things that
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maybe you know, unpolished, sort of unfocused, but there was
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really pure ideas there and a level of artistry that,
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you know, was just so evident. So I started compiling
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this list on letterbox and it grew and it grew
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and it grew, and I think it right now, it's
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around like six hundred and fifty titles at the point.
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And the more I started to go through these, I
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realized a couple of things. One was that a lot
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of my interest in movies these days is with those
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types of films, right the movies of Doris Wishman, you know,
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really started to grab me. Jess Franco another huge, huge
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influence on me. Movies where usually when we bring it
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up in discord or in conversations, people kind of sneer
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at it, they kind of turn their noses up at it.
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The people who do get excited about it, and I'm
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not saying they're not excited for the right reasons, but
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a lot of what we would see would be people
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being like, oh, yeah, all those movies are terrible, they're
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so funny, Like yeah, watch watch them, you know, with
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a bunch of friends drunk, and that's sort of like,
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I get that that's fun. I totally see how watching
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Final Flesh with a room full of drunk buddies is
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a good time. But at the same time, I think
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there's something to be said for watching those movies, either
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solo or through sort of like a more serious, critical
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kind of lens, because there's so much passion and creativity
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on display in those movies. And so one thing that
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I really hate is when people say something is so
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at it's good. I just that that whole phrase just
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rubs me wrong, because I think you're you're you're taking
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away from what that filmmaker's intention was, or you know,
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the work that they put into it. In the in
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the passion, you're sort of looking at it as like
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you're enjoying it ironically, and I I kind of hate
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that type of irony.
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So yeah, I think that's sort of what our goal
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here is.
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It's to to take these movies that maybe get kind
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of laughed at or sneered at, or they don't get
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the respect that I feel like they deserve, and we're
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gonna talk about them. We're gonna we're gonna enjoy them
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and listen, We're gonna laugh because there's a lot of
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to laugh at. But at the same time, we're really
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gonna like, we're gonna love these movies, and we're gonna
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talk about them in a way that hopefully gets other
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people excited to maybe watch them.
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In a way that they hadn't previously.
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Yeah, I love it.
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Yeah, I think that there's something in My first real
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kind of awe moment was watching Flesher Frankenstein. And I
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remember maybe this was ten years ago now, I don't
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know what, fifteen years ago, whatever it was, but I
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remember watching it and being like, man, that's fucking awesome.
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They just they went for it right, Like, and people
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talk about the overacting. No, that's not overacting. That's an
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intentional choice to be theatrical, right, And like there there's
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this idea that I give. I give some people in
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our discord a little bit of shit over saying like,
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what's a good movie, because they they'll be very quick
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to dismiss putting chopping Mall in my top ten because
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it's like that's not real art, right, and or bad
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pussy saying that shouldn't be in my top ten whatever, right,
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And like I get where they're coming from. There's these
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canonical films that we've been told are the best, and
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like it's hard not to say that, I don't know.
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Seven Samurai is not like a top ten movie. I
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get it. I get that pressure. But each person's top
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one hundred list should look different for me, right absolutely,
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And like if you love a movie, just fucking love
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the movie, like you don't have to make apologies for it,
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like if it catches you and it hooks you. Like
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I'm getting a lot of shit right now for liking
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a movie called Horror from Beyond, which was the one
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that everybody keeps talking about as the first movie from
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Revivor too.
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Oh yeah, yeah yeah.
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But man, like as I'm watching that, I'm watching the
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shadows move across the scene, I'm watching the depth of
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black and white contrast. I'm watching really weird, quirky choices
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made to like that the director left in to make
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the movie more interesting, and I'm just like hooked to that.
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I'm like, I'm seeing that movie is gonna make my
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top one hundred. But like, I love that movie. I
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don't care if everybody hates it, Like its just and
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that's that's the kind of thing that for me, like
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exactly what I want to do with this podcast, and
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I think you're on board, is say, hey, this movie
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that was lost for a long time would be a
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perfect pair with say June Suzuki movie, and explore this
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idea trying to pair it pair like a forgotten or
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an outsider art or a exploitation movie or some dark
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horror movie with something that's more classically recognized as like
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a canonical cinema film. And I think that that conversation
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just naturally allows that bridge to happen more freely and
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for people to see that directors are trying to do
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the same things. They may have a different budget, they
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may have a different experience in the film industry, they
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may have a different polish, but like they're trying to
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set out to do the same thing, right, And that's
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what I really am excited to explore here.
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Yeah, so you you were the one who pitched that
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idea of pairing these canonical high art house movies with
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these outsider, you know, sort of oddball you know, warts.
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And all kinds of movies.
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And and that's great because that that cuts to the
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heart of like what I was trying to do, which is,
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you know, sort of see them through that more serious lens.
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And when I say serious, I don't mean like we're
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not going to deconstruct, you know, a night to dismember
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and be like, ah, this is actually genius, brilliant high art. No,
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Doris Wishman was flying by the seat of her pants.
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She was, you know, using very little money, but she
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was using her creativity. And that's what we want to celebrate, right,
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that creativity, that success in the face of defeat, however
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you want to call it. But something you just said
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was really interesting, right, like talking about how you're getting
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some shit for some of the movies that are on
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your top top one hundred, their top fifty list. And
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it's it's weird because even me, like this has not
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been something I came to quickly, like these realizations that
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I'm kind of going through and these like new these
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ideas that are for me. I'm sure plenty of people
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that are gonna be listening are like, yeah, duh, we've
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been I've been talking about this for years. But like
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on my letterbox, right, like I have a list of
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my top twenty five movies, right, but then I have
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a separate list that's like titled something like my Top
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twenty five list with no regard for like you know,
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artistic merit, right, And it's certainly like dawn to me
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that like why have two separate lists, right, Like why
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do it?
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Why not meld those? Right?
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So you know, something like mad Max Fury Road is
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already on my top twenty five official you know, quote
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unquote list. But I was getting shit in our discord
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for having money python and you know, in the Holy
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Grail on there, and I'm like, that's a to me,
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that's a classic, canonical like one of the best comedies
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ever made. That's something that everybody should respect. And everyone's
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like shitting on it. And I'm like, wow, man, really,
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this whole like this whole idea of like if it's
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at all corny, it's at all weird, like it's somehow
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less than you know, a woman under the influence or
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something like that.
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It's really pervasive. Yeah, yeah, And I think.
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It's I think it's sort of like antithetical to the
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spirit of film, of cinema, of art, right, like saying like, well,
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these are the serious movies, these are the things that
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we should really be valuing, and these are the things
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that are just like junk food trash movies, and it's
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like it used to be like, oh well, I like
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to enjoy junk food trash movies. But it's like, hold on,
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let's let's think about like, is Night to Dismember a
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worse horror movie than John Carpenter's Halloween?
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Is it?
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Is it a budgetary issue? Is it a creativity issue?
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Like there's there's a lot of parallels there. You know,
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one's not necessarily better or worse than the other, Right, So.
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Yeah, and I think that you see this if you
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take it outside of movies for a moment, you get
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in the art world, this parallel becomes a lot easier,
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right because in one museum you'll have like a Renaissance painting,
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and you'll have not existential what's it called experimental.
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Art, and you'll have like.
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All these different types of eras and genres and styles
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impressionistic paintings, right.
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You'll have all these surrealist is the word I was
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looking for? Thank you? Yeah?
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Yeah, You'll have all these different things, like, and they're
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all under one roof.
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So people in the art world.
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Have already kind of accepted that there's no such thing
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as one form of beauty, right, And so I like,
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I like this idea of being part of something that
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you know, you said you were inspired by Bleeding Skull,
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and I love that because, right because what Annie and
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Joe are doing there is amazing, right, And I like
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this idea of treating movies as art as opposed to
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just movies, because art there's like a much longer history
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to hold from into draw analogies too, And that helped
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me shape the way that I saw Flesher Frankenstein and
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help shape the way that I see Scooter McCrae movies,
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because that dude's a fucking artist man, Like, yeah, he
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makes movies for one thousand dollars, like five thousand dollars,
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and they're better than ninety percent of the stuff that's
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out there. Right, So, like anyways, we're just kind of
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going in circles now, but like I think we're all
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I think like this, there's something really wholesome in this
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in a weird way that I'm excited about exploring and
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something that I'm very passionate about. So I'm very happy
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you asked me to join on this journey.
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I think I think right now is sort of a
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perfect time.
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Okay, So two things, right, One, the reason I felt
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like now is a good time for this is we're
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obviously seeing like physical media has been booming for years,
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but right now I think we're at like we're at
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this point where there's so many labels, so many labels
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with sub labels, you know, it's it's becoming this like
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really large thing, like larger than it's ever been. And
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there's movies coming out now on four K that like
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nobody ever thought we'd see even a blu ray of.
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There's lost movies that are making their way now into
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like the collective conscience. You've got labels like you know,
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Visual Vengeance putting out like these SOV movies and these
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eight millimeters sixteen millimeter movies that nobody's even talked about
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in years and years. So I think now's the right
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time to try to like just start looking at these
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things a little bit differently. Like when it was just
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more reissues of movies we'd seen a hundred times on disc,
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like that's a little less exciting, But now I think
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it's like a really exciting time to do this. And
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then the other thing I'm gonna say is like that
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was sort of my worry something you said when I
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started thinking about doing this and sorry, my cat's reb
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INU his face on my phone. He just jumped on
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my lap and he's like, pay attention to me, bleeding skull.
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Like I never want to my influences or the people
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who really inspire me like I.
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And that was my fear.
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Was, like, man, Joe and Annie just do such an
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incredible job. Like I've I've been reading their stuff for
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years and just like I've always been in awe of
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their curation, of like their dedication to their their you know,
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mission statement. Annie's writing specifically has always been a huge
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inspiration to me because it kind of showed me that
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writing doesn't have to just be academic to be interesting.
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You can also just write from the gut. I was
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gonna say from the heart, but with Annie, I feel
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like it just comes straight from the gut. Yeah, And
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it was sort of freeing to think about that. So
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they've been a massive influence on me, not just my
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watching but my writing and everything like that. So I
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would never want to like ape their style or copy
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but I think they're doing their own kind of thing
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and hopefully like this can be a good sort of
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almost like sister to that, but in a different way.
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So yeah, definitely inspired by them, inspired by Monto Macabreau.
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Like these these companies and these entities and these people
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who are just like doing just such amazing things.
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Well I said around doing nothing.
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You know, there's one more There's one more thing I
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want to add to that.
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I like.
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I like what you said a lot. They're another good
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reason for the timing of this, if we want to
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just pat ourselves on the back here for a minute,
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is there's a whole generation of people coming up now
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that don't have the same movie background that we do.
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Right, So, like.
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Remember in the Discord, someone's excited to watch a never
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ending story for the first time. That blew my mind.
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But like, yeah, I mean that was cool to see.
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Yeah, Like imagine experiencing the magic of that movie for
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the first time, right, That's so awesome.
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Yeah, And you know, to to just respond to that,
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And that's what I hope is like that was really
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exciting to see that, And I hope that they are
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able to watch that and not look at it through
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like an ironic lens, right, like not look at it
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and go like, ohh these effects are a little dated
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or this is a little you know whatever, Like just
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just sink into it, man like, because that one is
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crazy and there's just so many bizarre, beautiful images, and
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the story has layers and heart, like, just give yourself
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over to it, right, like in general, when you're watching movies,
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just just give yourself to the movie. Like, don't sit
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there and try to academically dismantle it, don't criticize it
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while you're watching and be like, oh that was goofy,
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that was corny. Just just sink into it. Let your
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brain melt exactly.
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I love that.
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That's probably the perfect way to end the intro, and
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then I think it's probably worth mentioning the structure for
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a few moments.
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So yeah, I think the easiest way to do this
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is going to be.
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To do we each look at the beginning. We'll start
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from your list, right, There's been a lot of curatorial
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effort that goes into that list, So start from that list,
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we each pick one, and then as we watch it,
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the hope is that there's some you know, art house
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film or historically recked, you know, celebrated movie that we
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we find a parallel to or connection to, and we'll
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surprise each other live on the show with what that
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what that ideal pairing would be and then kind of
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why we think it would make a good pair uh,
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And so I think I feel like that's a fun
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way to not only talk about the movie itself, but
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then also draw some parallels and whether it's themes or
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shooting style or you know, whatever it is, to to
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elevate the discussion to to that level.
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Yeah, for sure.
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And I think when when it comes to that, it's
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not necessarily gonna be a movie that you know, there's
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there's obvious pairings, right, Like, there's obviously obvious pairings where
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you're gonna take some if you watch The Seventh Curse
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and then you go, I'm gonna pair it with you know,
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The House. Okay, that's obvious. You know, they share a
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lot of crazy imagery and stuff like that. But it
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doesn't have to be that, right, It doesn't have to
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be country, it doesn't have to be theme. They could
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be all kinds of things. Maybe it's even just Hey,
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I think this would make for a good double feature.
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This could be a fun you know, bounce from one
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to the other. So I think a lot of interesting
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conversation is gonna come out of that. I think we're
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gonna like really surprise each other with some of these things.
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And but I like that the idea is something that
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is sort of like canonically respected, you know, sort of
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doesn't have to be from Criterion collection, but something that's
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00:20:32.599 --> 00:20:37.279
like in that Criterion sort of electicon exactly. Yeah, So
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now that's gonna be really exciting. And yeah, each week
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we're gonna each pick a movie, we each watch both
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those movies, and we come to the table, you know,
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ready to discuss and sort of.
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Kind of deconstruct.
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00:20:52.640 --> 00:20:55.559
And just talk about why, you know, why this movie
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that maybe people sort of turn their noses up at
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or see as a little less than more artistic efforts
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00:21:03.759 --> 00:21:08.599
really deserves their time and their like sort of watching
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and thinking about it a little bit differently, and we're
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just gonna have fun with it.
398
00:21:12.680 --> 00:21:15.000
You know, Like I see a lot I foresee a.
399
00:21:15.000 --> 00:21:17.160
Lot of time spent laughing, and just like you know,
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00:21:17.960 --> 00:21:20.440
I think the important thing to remember is we're not
401
00:21:20.519 --> 00:21:23.079
laughing at these movies, if anything, will be laughing with
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00:21:23.119 --> 00:21:27.079
them while we celebrate what makes them so wonderful.
403
00:21:27.839 --> 00:21:30.960
Yeah, and not ignoring insane things, because some of these
404
00:21:31.000 --> 00:21:32.400
movies just have insane things.
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00:21:33.640 --> 00:21:37.000
So just to give everybody like a spoiler, like a
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00:21:37.000 --> 00:21:41.680
little taste the two movies that we are watching and
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00:21:41.720 --> 00:21:43.920
we'll be talking about in the first episode that'll be
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00:21:43.920 --> 00:21:48.559
coming are I've already mentioned it, Doris Wichman's Night to Dismember.
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00:21:48.759 --> 00:21:49.839
That was my choice.
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00:21:50.759 --> 00:21:52.839
Anything that gives me an excuse to watch this movie again,
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00:21:53.200 --> 00:21:55.920
I'll take it. And Chris, what was your choice?
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Juan Picquerre Simon, otherwise known as a nineteen eighty two classic.
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00:22:03.480 --> 00:22:07.480
Pieces, Oh Chef's Kiss? What a pick?
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When you chose that? I was you could you couldn't
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00:22:11.599 --> 00:22:15.400
see it? I was giddy with delight. I hadn't watched
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that movie since I saw it in the theater a
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repertory screening thirty five millimeter in Boston.
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Couldn't Yeah, Yeah, that was That was something man really excited.
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I was so excited to revisit it again and it
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00:22:30.640 --> 00:22:33.359
did not disappoint one bit. So I can't wait to
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talk about it.
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00:22:34.319 --> 00:22:37.880
Sam, awesome, Well, I can't wait. We'll be back soon
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with episode one.
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Bill.
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I'm excited for this.
426
00:22:41.839 --> 00:22:42.599
Yeah, me too, Man.
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I hope you know, at least one other person out
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00:22:46.200 --> 00:22:48.000
there gets something out of it. But if it just
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ends up being you and me talking into the void
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about these things. Hey, you know, I'm okay with that too.
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We'll find, we'll find our audience.
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N Yeah, thank you for listening. To hear more shows
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from the Someone's Favorite Productions podcast network. Please select the
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00:23:09.720 --> 00:23:10.640
link in the description
