Director, Writer, and Horror LEGEND Brian Yuzna Interview: Reanimating the Dark Arts

I think maybe even earlier. Maybe see anyway, we used to go to the movies on Sunday, the Kiddy matinees, Nice and I and I saw The Creature with the Adam Brain and it just really you know, gave me sleepless nights. Nice And then the next you know, fantastic movie, genre movie. I remember, was the Seventh Voyage of Sindbad.

golden calf and start having a big orgy. Now it was, I guess g rated, but it was an orgy, you know, and that really affected me. And when I did start making movies. I would often try to figure out where my default instincts came from, because I think anybody, everybody's

coming is coming from something. Most people that make movies, even on the huge level, are trying originally or trying to make movies they loved when they were kids, of course, and I think that's why I have this propensity to think that a good movie should end with a big, crazy origin. Because of the Ten Commandments. That's how it ended, you.

saw all the Hammers. But by the time I got to middle school, I was all into Corbin's Poe series. And you know, I saw Psycho when it first came out, and I was like, yeah, that was that boy. I was. I couldn't take a shower for weeks and all that time. It's very disturbing to me, this idea that there could be somebody else inside you, you know. Yeah, but so anyway, but I did, I did read. I read. You know, it was really into fairy tales when I first started reading.

And that's basically the origins of I guess you'd call it folk core. It comes ultimately from folk wore. And we when I was a kid, you know, not having your TV, and if we did have it, it'd be a few hours a day and just be kind of like the news and stuff. But we used to gather, you know, at dusk, the kids, and somebody always knew some uncle, who's somebody crawled out of a grave, or there's some kind of wood who you know, there's sort of monkey spaw style of horror. It's just the whole

grisly fact of it. And then I was I was raised a Roman Catholic in and my father was a was a practicing Catholic, so I would go to church. I went to church faithfully, and and I lived in of course, these Catholic kind of third world countries, where

you know, they'd have processions through this. I mean, it's very heavy, and of course in you know, Catholicism is all about you know, eating the flesh and drinking the blood and you know, suffering and you know, and so that I think that had a good effect on me.

I always thought that, especially the Western kind of horror basics of Frankenstein, Dracula, and I guess Jekyl Hyder or the werewolf kind of blend together, that it works best in like a kind of Christian Roman Catholic tradition where because you know, in the Catholic Christian the devil and the demons are real. This is not right, this is for real, you know, And so it's not much of a jump from there to you know, thinking that vampires

could show up. It's true, and I always thought it kind of took a little away from it when it would get to you know, when it didn't have that sort of religious underpinning. But then when you'd see the Asian non Christian based or you'd see that they do quite well with their vampires and were wolves and ghosts and stuff. You just have to settle into the into the you know the culture of it. But that was kind of how I got I think that's how I got a taste for horror. I just always liked it.

And then when I ended up having to make a living, I grew up. I didn't grow up anywhere near LA, and back in the fifties, sixties, even seventies, you didn't. I mean, movies were just basically made in LA and to a certain degree in New York, but mostly LA. And I didn't know anybody in the movies. All I knew about was from what I could read. But you know, I remember seeing Day for Night, that true movie. You know, in the sixties, art movies were a real big thing,

you know, that new way for stuff on tour. Stuff was just real entertaining. And in that Day for Night, it's basically kind of a musical about making a movie. So you see the crew making the movie, and you see all these different people performing functions, and that sort of became the basis of what I knew about what making a movie was. But I never thought that. It never occurred to me that you could actually make a living doing TV or movies. It didn't It didn't seem

too far too far thatched. Of course, now everybody can and everybody does make movies always, all the time, constantly. But when I I didn't, really I didn't start. I try. I started shooting with a sixteen millimeter camera when I was given a Bolex sixteen millimeter wind up three lens. These were these Bulex cameras that were used for news gathering in the seventies. When a crew would go out to do the news, they would have that and they didn't have sound or anything. It was and you had

three lenses. You wound it up for like one hundred feet. I got one, and at that time I was living in the country, and I started shooting my goats and my turkeys and stuff. And then I projected at night on my projector after I developed it. It would be in black and white. If I went, wow, it's like bergman, this is a movie. And so then I started. I tried making a short film, and because I got a I got a Beta Max. Nice first in my neighborhood to have a Beta Max. And then I recorded a

couple of movies and watched them over and over. One was Kubrick's The Killing and the other was The Spiral Staircase. The first time I could see that there's there's shots. There's not just scenes, there's shots. And that was a big eye opener for me. That then I started realizing, you know, because I could go back and forward, I could control it. When I went to the movies, it just happened close as I could get because I wanted to get inside it. Of course, one I started making movies,

I wanted to see the frame. I went just the other way. I don't want to be immersed in it. But so anyway, that was, you know, I started getting interested in it and started reading like Box Office Magazine and Weekly Variety and going, God, maybe you could could you make a money? You know, I'll try making a movie. I did a short film. I thought it was great till I showed it to my friends, and then it turned out it wasn't, you know. And I'm like that as a cook too. When I cook for myself, it's

just delicious. But if I have to share the meal with somebody, I start realizing it's not that good, you know. And so then when I decided to try to make a I thought, I'm going to try to make a real movie. I'll go out and so I put an ad in Variety that said horror movie director wanted, and I got. This is before fax machines, It's like nineteen eighty two. I got like hundreds of letters. I would say ninety percent were from LA and ten ten or

twenty percent were from New York. Well, New York was easy because I could drive up there from North Carolina. But La i'd have to fly out for a few days and I just have meetings all day. And then I started realizing that everybody that I met up there was just like me. There were people who were from somewhere else, but they wanted to make movies. And of course the ones I met were the ones that wanted

to make genre movies. And you know, not having gone to film school or had any any kind of education in entertainment, I just picked it up from meeting people. And the first time I went to a film market it was the American Film Market. And when I saw that, I went, Oh, this is how you do it. You kind of make the movie, you go and sell it to all these countries. Because this was the great era of video, when anybody could go to market with your movie, which is kind of why the movies of the eighties

have this unique characteristic. They were being financed by video when the majors wouldn't get into it. And so there's a lot of people, a lot of people making companies, producing and selling movies who had who would never be let into the big thing, could never worked in the big time, you know. Once I saw that, saw how that worked, and everybody was kind of doing it right. I was lucky because I I raised the money to make my own movie so I could start out at the top.

a movie. But he was a professional. He was the creative director of his own, his own theater, and he loved to shock people because the first time he really got any, got his picture on the front page of the paper in Madison, Wisconsin, where he went to college, was because he in college he put on a theatrical play version of Peter Pan where all the actors were naked. You got to remember, this is in the hippie times, and so the police shut it down and there was

a lot of go and Stuart loved it. He was like, this is what I want. And in the organic theater that he ran, he did regularly. He did, you know, just regular plays, but he did really ambitious sci fi and kind of horror stuff. And I just I went to see a couple of them, and I thought, Wow, this guy, I like, I could work with him, and he knows what he's doing, you know. And so he had already co written a pilot for a reanimator TV show, and so we developed it into a feature and shot it.

We Luckily for both of us, he was of course, I knew he liked he was excessive, so I like that, and I also also he was lucky that I did want that, and we didn't have to argue with anybody. And I wanted it to be very exploitative because as a horror fan, I liked bad horror movies, of course, and not bad regular movies, but bad horror movies I like, which I think is the definition of a horror fan. The the so I thought, you know, I'm risking I had two kids by then. I thought, man, I'm risking

my family's future. Is I'm borrowing money? So I know when I watched horror movies, the worst thing are the horror movies that sort of pull their punches thinking they're going to get some kind of respect. So my feeling was that I did, and I told him this. I said, I just we just have to make it real entertaining, which means very bloody and very sexy and just all the way so that the movie's no good, I know,

there'll still be an audience sort you know. So that was that was the you know, And luckily, of course I didn't even I didn't choose to take it to the MPAA for our rating because I knew they wouldn't wouldn't They would just take out all the all the good stuff, and you know, it meant it was difficult. We had to you know, we had to put an X rating on it because that's what you could if it wasn't rated. And now X is just sex, but back then it was also you know, it's just anything

that like obsity. Yeah, it's it's like anything, you know, anything could be X rated if it was just adult. That was the original idea. It would just be adult because they only had g rated that are rated, you know, right. But but anyway, that's as Stewart used to say, we brought out the worst in each other. Well we were

really very really very different. I mean, Stuart is a lifelong kind of kind of director, entertainer put on shows, and I just sort of came into it, you know, when I was thirty years old, going hey, what else am I going to do? Let's try this. I learned from just being on the set and hiring people and going through the process. But I never had any you know, I didn't have any education at it. And Stewart was I mean, he was kind of a you know, kind

of a born storyteller. Some people just tell a good story. You kind of want Stuart to be at dinner with you because he'll pick up the slack when you need a little entertainment, Like he's like a recontour. And so we you know we I think we complimented each other that way. You know, we were you know we were And as then as Thaoli, his writing partner, would say, he said, you know, Stuart and I could have made any kind of movie you wanted to do. Horror. Of course,

whatever you start doing that ends up being stuck in it. Yeah, but that's not exactly true. I mean Stuart already would have had the reanimator pilot. Of course it was for like all audiences, like you know, right back then, who wants to do TV? Nobody? That's true now, you know, with the streaming services.

years old, I got a horror comic. Wow, And those horror comics were really kind of disturbing until I had got a little older and was introduced to Mad Magazine, And then I started understanding satire because all the horror comics they were kind of they were grizzly, but the guys writing were grown ups and they just they were just joking around. I mean, they were so ironic and satirical. But of course when I first first time I read Mad Magazine, I was shocked they were selling I think

they at a fake ad. You know. Back then on match books they used to try to sell you a course in plumbing or electric and they would sell a course and bank robbing or you know, right and buzzley, you know, and I'd go, how can they do that? Oh my god? You know, but you have to learn

the concept of satire. Yeah, and I think the I think the when you especially in the Easy comics, which really laid it on thick, you know, I mean that's basically Return the Living Dead of Dan O'Bannon is post comics in the movies for the first time, not the Creek shows stuff where they think you were a batman TV series where they think the way you make a comic to a movie is by showing frames and going into them and having primary colors and putting pals and no, no, no,

but that whole idea of eating brains. Who eats brains? Nobody except in the comic books, because that's funny. It's fun grisly. People are always getting revenge on each other. I don't know. And to me, the horror was I think the horror that I loved was kind of tended towards the carnival type of you know, Carnival eye type of horror, whereas it's just a fun ride, you know, it's just really entertaining. But I loved you know, Rosemary's Baby, the Exorcist and the you know, the real kind of

high end horror. Right.

obviously it's got a huge audience. I'm not you know, I'm not.

I didn't care much for the message forward. I mean, I think it's amusing that a movie that reports to be sort of a message forward feminist female empowerment movie basically creates the ultimate pedophiles dream and its main character, you know, a young woman with a child's mind who just wants to fucking have orgasms. You know, that's female empowerment. Okay, But anyway, so I immediately went and got the book ye and read and that explained a lot to me

why it was the way it was. And the book is a found footage thing anyway, by the way, But when I read the book then I thought, I think it came out in ninety one or ninety two, and I thought, oh my god, if I had seen this back then, Stuart and I could have really had fun with this. I mean, I thought we would have jumped on it. What a good idea. But mostly I don't see a lot and I kind of I'm not one of those people that is that enjoys watching a lot

of series. I don't binge series or anything. So I'm I don't know, I'm not I'm not a great movie consumer. In my old age younger, I thought everything was fascinating. A movie, it's just fascinating, And now every movie is kind of boring.

little soldier, just getting down by the tree trunk. Everything looks so huge, you know, you know, riding on a beetle or and he said, he said, we'll call it teeny Weenies. It's about kids that get trunk by their dad and thrown out. In the story is they got to get home. And he said we should take it to Disney. Well, Stewart had a really happening agent and we were in Rome and the agent said he got a pitch. You got a pitch for us at Disney.

So we wrote. We wrote the treatment on a yellow legal pad on the flight back from Rome, went into Disney, and it just rolled from there, you know. Except they told us pretty early on when they made the deal they said, look at we're going to have to change the title teeny Whenies sounds like a low budget porn. This was said by Jeffrey Katzenbergen, the executive di An.

to direct. It doesn't see that hard. I mean it's it seems like the director gets to just make all these little decisions and everybody thinks they're wonderful, and you're you know, they seem all very you know, seems sort of arbitrary. But I knew that I could never get anybody to let me direct, except that I had Bride. I had the sequel to my own reality. So I

had the sequel. And so I found a friend of mine was starting up an independent production company, and I said, well, listen, I'll I'll let you finance the sequel to re Animator, but it has to be a two pick and I but I have to direct, produce, be in charge and

all that. But it has to be a two picture deal because I had been told by a French distributor once that that usually a first time director makes two pictures is in one his first, in his last, and so because if you make a first movie, it's likely it's not going to be any good. Lord Gordon to the contrary, although remember Stewart was the theater director for ten years. So I said, look at you can. You can finance Reanimator sequel, but it has to be two

picture deal, and that's the second one. So that way, the first movie, if I failed, I know I have another chance. You know, I can learn from my mistakes. So it was it was basically just a logical idea. And then I was looking for a project and a guy gave me the script of Society, and I really liked the paranoia of it, but it didn't have any fantastic element, which is sort of like this blood cult.

And so I and I had just been working with Dan O'Bannon for about a year on a project that he was going to direct called The Men, about a woman that discovers all men are aliens, a concept that in the eighties would have worked today too, you know, gender fluid doesn't work for those kinds of movies, and so it was what I loved about it. It was very pulpy, but it was real paranoia. This woman starts realizing there's something going on, that it's under the surface,

you know, that is really weird. And so that's what Society had was this idea that this kid's in Beverly Hills and and he's kind of does feel he's going crazy. He's going to see a shrink, you know, He's just thinks parents are up to something horrible, and they are. But so I so that's why I mean Back then, I just didn't think a lot. I said, Hell, let's

do this. And the money was coming from Japan, and there's a Japanese effects artist in Hollywood and screaming that courage of it saw him and we just started developing ideas. And I was at that time trying to think, I'm really into a fact and if I was going to

make a movie, it was going to have effects. And at that time, Nightmare on Elm Street, it was every new one that came out was just sort of you know what the rubber guys could do now with all these new kind of new kind of materials and the new concepts of making replacement puppets by changing the angles to it without digital that was always a problem. And when I watched The Werewolf, I just always wanted to watch the scene where he's growing the hair in a space,

even though you could see it kind of shift. You know, that's the magic, It's the metamorphosis, I think maybe, and I thought, well, what effect haven't they done that I'd like to see? And I thought about the skin melting, And I think the origin of that might have been from seeing a late night the late night movies on TV of Doctor X by Michael Curtiz, and in Doctor X they have a color sequence where he's got this synthetic skin kind of it kind of melts his flesh

together or something. So I think that maybe had some influence somehow, But anyway, I just imagined flesh melding together. And then George, when I met Georgie, we just looked at all these Dolly paintings. He said, he's the surrealist painter. So then we started picking Dolly images to build on, and then we'd have meetings at my house here to with the writers Rick Fry and Woody Keith. Woody Keith is now Sef Daniel, and we just kept we just

started going in that direction. They weren't, you know, they didn't. They totally were good with it. There was no like, no, what we this is our images now? There was none

of that. And I think it was Woody who came up with the word shunting for that great ending, right, and so you know, so, but that was it was only because I had the bride of Reanimator is my leverage, and I was working with people who were just starting out, and nobody was around to say no. Nobody was like saying do this, do that or you know, you know, so that made it, you know, that made it possible to just follow that idea where it went. People are,

you know. I think what people don't realize is that the Shunting is one of the best guy in a suit movies ever, you know. I mean, I know, the creature from the Black Black Lagoon, I mean that thing was swimming, but that guy was swimming. And I hey, I produced Guyver, which has the best you known, you know, suit monsters doing martial arts you'll ever see.

course it was all leftist politics. Back then. It seemed like the country was just going to explode, and I was, I was. I was a part of the left, but I was, I wasn't you know, I wasn't all that radical, at least a person in my personal life.

I knew that there was fun to be had because what I did was to take the script and just followed, just extended it to observe me.

You know that most movies are based on you know, I thought, well, this could be kind of fun to do a different monster. But I was very careful not to have someone get at a blackboard and give the message here, you know, just you know, That's why I had the guy say, you know, at the beginning of the Shunting, when they get ability to say he says aliens scum, he says, We're not aliens. We're not from our space or anything. We've been here as long as you Because I have a whole I have a whole

origin story for society. Man. It goes back. It's like two thousand and one, it goes back to the caveman right to Because I always feel like, especially well maybe any movie or any story, but especially genre where it's kind of science fictioning. I kind of feel like the movie is just the part of the iceberg that you see, but it's got to have a huge, a huge basis to it. But you don't want to be you don't,

you know. I mean, I it comes out when he says the rich have always sucked up for you know, you know, low class shit like you well, I mean that's kind of Marxism, you know. But it's also just reality. H I mean, it's not. When they released the movie in the UK where it was actually successful, I said, would you just put on the poster a true story? You know, because I think it is a true story. It's just metaphorically speaking, but also there's not a real

I did have. Back in the early seventies, they did the front of mine in Berkeley has put out these these t shirts that said eat the rich with like a plate and fork, and I and my love in the movie actually wears it to the party. But then he ended up having a jacket on. You couldn't see it ruined. It didn't matter. I wasn't trying, you know, it wasn't I just felt like it it that's not

really the point of it. It's just the monster and what I And then because at the same time, so I just took what was already in the story and just expand, you know, kind of developed it more and with and with and then there was the kind of incest that was in there, the sister and the brother. And then at that time, I think I'd been reading this David Skull book about monster movies, The Monster Show or something, and at one point he was saying, you know,

horror movies are about taboo. They're about taboos, you know, whether it's cannibalism or violence or whatever, and that and one of the ones, one of the earliest taboos that's still really serious is incests. And so then I thought, well, that's all that's already a part of the movie. Let's bring it. Let's let's just get it, expand on it, make it stronger. And and that is real creepy, you know, the whole thing with the sister and then with the parents,

and it's real. It's it's real creepy. It kind of throws you, you know, something's wrong here, you know, you don't quite you know, you know, why really understand why we got such a such an aversion to it. But so anyway, that was how it started to It was sort of developing those kind of narrative ideas. But then in concert with George, who's coming up with different variations of the flesh melding, and then and then Woody and Rick, they I mean, they just had the weirdest kind of imagination.

So it's really just sort of a few witches around the bubbling pot. But it was very disappointing for me because I thought, what we made that movie. Of course, I'm saying I always think the movie, especially when I started out, I thought, this movie is gonna Back then in Variety they would put the box office, you know, and they list the box Office like Box Office Mojo, and and I thought it's going to be number one. I didn't realize that that my taste is not shared

by a lot of people. And so if you're Spielberg, what what he likes? We all love. I love most of his movies. His taste. Really, you know, I respond, and so does almost everybody, But my taste or Stewart's Dayse or George's, it's getting into a much more limited number of people. And when you know, Society and Bride kind of came out at the same time, as they were both made under the same deal. So the minute I was in post on Society, I was getting ready

to shoot Bride. Nice and I remember that Bride and even my friends kind of didn't like it, you know, I mean, I'm not saying it's a great movie. I was pretty clumsy directing and all that, but it wasn't. But I thought that, well, I mean, it delivers, hang in there, it delivers. But then, you know, my friends did kind of like Brider reanimators a little more traditional movie. But then in the UK, where the UK just released first in the.

So it it did well in UK and France and Spain, Italy, but then here it was like nothing and so only but then Bride over there, at least in the UK wasn't seen as any great deal. I think it was more accepted here. But the thing that was really gratifying was about twenty years later, in the late two thousands, all of a sudden there was this other generation that came up in the great procession, and plus they started

liking the eighties. Oh yeah, I think what they liked was what it's kind of like when I would watch Japanese jagor nice, the Ring and the Grudge and all that, which, by the way, the guy that I made an ecronomicon and crime freeman from the Japanese producer actually created Jar, he produced the Ring, the Grudge. He showed me the script of the Ring before he made it. He and he and he was, you know, the Japanese producer on

the American remakes. Very successful Japanese producer. And but I'd tell my friend, I watch, like, you know, The Ring or something of the Grudge, and you know, usually there was a girl with hair in front of her eyes, crawling down a hall or out of a TV or somewhere, and and and you'd see the setup for it. And I would sometimes I'd go, well, that seems kind of ill, lot, that seems kind of stupid. Why would this person do that?

And they'd go Japanese culture. And I think that's what happened with society, is that the part of it that was bad when it was in its era, they'd go, there's a little dicey there. But in another generation they're looking, they'd go, isn't that stupid? That's say it's the eighties.

clumsy about the storytelling. I mean, you know, I mean, you know, let's you watch the Thing, Carpter's the Thing and Kurt Russell has a cowboy hat out in sub zero. Oh yeah, because that's cool, you know, the eight Why but the affects great that I'm not groundbreaking stuff.

the story. I was going to direct it. And then they got the rights to Return Living Dead three and asked if I'd want to do that. I said, oh, yeah, because I've never been against doing sequels because I remember when we were Stuart and I were talking about Bride of Reanimator and Stuart had big time representation. I've never had an agent, so that's how that I am. And and he said, my agent said, I don't do sequels because when you start out, you don't know where you're going, right,

you know. I mean back then, the only sequels were like The Godfather, you know. It wasn't like now where every sequels can be a big thing. And I said, okay, but I guess I never really expected that I would be able to make big movies as a director. And I just thought, boy, if somebody just me a chance to direct a movie, I'm good. And if it's sequels that I like, I don't know, I'm happy to do it.

been too many zombie movies. What do you get to do? And so I had always thought that the ride of Reanimator was the best character in that movie, but I

didn't have confidence in her. I brought her in at the end like the Bride of Frankenstein, and she shows up in the movies ending, and I thought she needs her own movie kind of, And so so that was sort of the one thing I wanted to do, and then I got pitched by many many writers, and John Penny came in and he had the story of the military weapon zombies and the freezing with the bullet and the other colonel who thought they should do it a different way, and and and so, and it was a

Romeo and Juliet. It was the kids on the run, right, and the girl was dead and so wow, that was it for me. And so we immediately started started developing it and working on it. And he's been we've been good friends ever since. We you know, we work on a lot of stuff. And then about you know, a few years ago, you know, everybody's making movies and they make these no budget movies they call the micro budget

and I can't be in that business. Nobody's going to work for me for free, right, But I said, hey, we could sell them because I was a partner in a sales company in the two thousands, I think I think I started in about two thousand and seven or something. So I wanted to get into sales. And because you just it's really hard to make a movie and then not be able to touch it, and so you kind of you know, and actually selling movies is how you

get movies. Finance. That's how you get the money is by selling, and so I kind of got into that and then we started out at first with Dark Arts. We just at first we just started out being producers reps. I said, you know, there's all these people making independent movies, but they don't they don't know how to make a deal. And I lived it because when I made Reanimator, fortunately got a company to sell it and distribute it. We just kept all the money and I had to assume

them and it was terrible. And because I didn't know, you know, read the content. You don't know what the what the business.

And so we started doing it that way, and then that kind of turns into doing North America domestic because a lot of those those those sales companies also do domestic so then we start getting into that. And so then we just started thinking, well, you know, we might

as well just get into this because we can. If you know, when people would show me a movie that they made and I'd say, well, i's hey, let me sell it, you know, if it's a horror or something, and and then I'd say, you know, but next time, would you just send the script ahead? Would you just talk to us? It's not about spending more money. But because most of most of these s folks, most of them, i'd say, are not in LA, right, So if you're in LA, you're in the midst of everything. You know,

you still need help. But if you're you know, you know, out of LA, you can make the movie and be very enthusiastic, but you don't necessarily know men, anybody in the business. And if you're here and you try making a movie just your friends and everybody, you know, it's going to let you know when you're off. Everybody's savvy. You know, there's a film I queue you know in LA that it's just almost in the air or something.

People know everybody's doing something. But if we're in you know, Phoenix or Cleveland or you know, you don't know, there's nobody around to tell you that that's not a good idea. So anyway, we got into it so that we could get in on the micro budget stuff, you know, and and it's it's a it's it's a lot of work, but luckily John does most of it. We're always looking for movies. So if you've got a horror movie and you need someone to distribute it, email us.

them out there. But that's that's basically considered retail when it's on Amazon and all that, and then to do streaming, m v D can do that, but there's a lot of different companies that that you can deal with for streaming and so it's you know, it's it depends on the movie with the best way to go and the main thing is is not to lose money.

a nice job of restoration. So so it's a but actually those companies and Unearthed, the company that distributed diver are all there's one partner in common with all of them, who's also the guy who financed Society and bright up the reanimated with Wild Street Pictures back.

I know. I did a couple of The Silent Night Deadly Nights, and I was kind of thrilled when Lionsgate came or they called it Best Front, and he came out with the pack you get all those crappy movies together. But they put up in that pack. Corbin and I tried to make a third one. I could just never get them to give us the rights. He loves that part. But anyway, I think that I like that. I like getting all the packs together. I wish, you know, I wish, I wish I owned Dagon. I think that would be

a treatment that fits in an Necronomicon. It's just really sad that I can't get a hold of that because that would be just never is never seen. And I think it's I'm not saying it's great, but man, it's got some cool stuff. I mean, Jeffrey Combs is playing HP Lovecraft and he's made up to look like him and sort of an action hero. I like. I like an Acronomicon a lot. I think I think it would do good, you know.

that aren't focused on joining their library. They're focused on making hunger loans, you know, And the library is basically real estate. It's collateral for bank loads, so they're not they don't have an interest. It's not worth their while to even sometimes license it out for someone else to put it out because they got to get their lawyers to deal. You know. It's so it's really it's sad.

And the French company, I don't know, they don't have any interest in I tried to just get the Spanish rights when I was living in school.

that collect Blu rays and DVDs. They have huge screens, you know, they have huge projection and which I have projection. It's the cheapest, best way to watch movies. Don't carry those big heavy things around, you know. But he you know, I want to see a movie, I've got to go

pay five dollars for it. And I'm going I used to own this movie on VHS for great sakes, you know, it's not like it's I was telling my wife just the other day because my grandson was over and we're watching a couple of old movies and we had to buy and I said, you know, I should just start getting the blue rays. I should just because if you get, if you look around, you get, you get them on sale. Oh yeah, it won't cost you much more than ready them and then ver and you got it right there.

It just of course you've got to be a librarian. You got to figure out a Dowey decimal system or something that's true.

or seven years before. And he started to take his shirt off, and he got the he got the shirt off, and he turned around and he showed me this, and I just I just wanted you to know that you have truly left a mark.

is a love letter to the genre. We break down how these films were made, The creative risks that paid off or didn't, and the lasting impact had on the genre as a whole, from seventy Slashers to modern nightmares. We celebrate the craft, chaos, and characters that keep us coming back. If you're the kind of fan who rewatches movies with the commentary on, or you simply grew up in the video store horror isle, the Beyond the Blood Podcast was made for you. New episodes every single week.

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