Re-Connected October 23rd, 2025: Announcements and Special Features with Justin Beahm!!!

over the last couple of years. I love your live streams with them, and it's this great kind of like polar opposites with Brad on one side of the screen and then Ryan on the other, and Brad's always like fired up and singing and stuff, and then Ryan's sitting over there like and then you're in the middle, kind of like threading the needle between the two of them. And you do a great job with.

all that. I was like, oh, because that's when I was working on my record, and I'm thinking, how cool would that have been to have something as someone who's buying the music completely customizable like that. I think it's great.

out to any EK alumni out there. When I was this little kid carrying symbols around that were like half the size of my body anyway, Drumming has always been my thing, but I've always loved guitarists. I've always had a real ear and passion for great guitarists. I'm like a tone junkie, and so I've been paying attention to that stuff over the years. And I worked in music retail where I was able to hand someone a guitar

and not show them anything. I could sell drums a little better than guitars, as my friend Josh Luce will attest, who worked with me for many of those years. Anyway, this summer, or you know, earlier this year, a friend of mine gave John Stalter gave me a guitar. It was something that he had. He was wanting to downsize his collection a little bit, and he had a couple of the Kurt Cobain Fender Jag Stayings, which is a guitar that Kurt designed. And John wrote to me one

day and said, hey, I I'm downsizing. And I always said to myself, if this guitar ever had to go anywhere, I wanted it to go to you. Oh yeah, how sweet is that? And so next thing you know, I'm driving over there and picking up the guitar. And then I and he lent me a little practice amp and a chord and I had my headphones and came home and it was like, you know, like in Dazed and Confused where the kid lays down in his bed puts

his headphones on. But it was me with this guitar, just noodling around and if I started doing this, and I decided to experiment with recording. You know, I'm dealing with recording and film editing stuff all the time, so I'm like, well, let's plug this in. And then I started making songs and then eventually had enough to do

something with. And it really is through the support of my friends everybody around me who just cheering me on throughout the whole thing, helping me feel validated in it, despite my self consciousness, which is near crippling when it comes to this same man, I just can't say enough. And on the liner notes for the album, I think a lot of I mean, all the people who were really like instrumental and pun intended in this whole thing coming together and then teaming up with wax Work on

the vinyl was a dream come true. I mean, oh my god. Yeah, I mean, well, they're masters at their game. They know what they're doing, and people really love them and their work. And I knew the music was very weird when people ask how and when I sent a few songs to friends early on, they'd be like, what

is this? Help me understand what you're doing here? So anyway, I wanted to instill some kind of confidence in people, and I thought that teaming up with a label like that, an established label that's famous for the quality of their pressings, will probably be the most direct route to that, and I found I mean, they were open to the idea,

and working with them was a dream. And at a time when everyone's vinyls delayed, it seems like every new release, John Five's album came out the same day as mine, which is an insane thing to say. But what but he's amazing and shouldn't be playing with Motley Crue by the way, that's kind of like it's kind of like putting I don't know me and Trans Siberian Orchestra or something. I don't know. That's a really bad analogy. That was the worst analogy. I'm not sure that it was. That

was kind of a mess. But anyway, it's a shame. He needs to be with Rob. He needs to be back with Rob Zombie. And that's the hell I'm going to die on here regarding John five today. But anyway, to the point, he announced his new album is delayed because of pressing stuff and with wax work. They gave me an estimated delivery date of like October eighth. I had it a full month early.

I mean that I'm grateful. I'm really grateful, and I loved all the steps in getting it out there and into people's hands.

tastic writers into the fold on it. It turned out great. Every subscriber to the magazine hated it, and I was hearing from them on it. They're like, so some subscribers aren't real thrilled because it shows I wish I had it sitting next to me, had I planned better the cover. This is a magazine that features like, I don't know, Eric Estrata on the cover every month and it's all vintage TV and good time stuff, and then this issue

shows up. The cover is just stark black with Michael Meyer's mask front and center and almost no text, none of the usual. I'm pretty sure that a lot of the readers were just with pitchforks and torches, you know, when they saw that. But anyway, the horror fans loved it, and we did a cool signing at Dark Delicacies and

it began a great relationship with them. And the next year I pitched a monsters theme because Rob Zombies Monsters was coming out, and so I talked to Rob about it, and he's like, Yo, let's do something, and so we did new interviews and behind the scenes things on that, and then I was like, I love working with his team because I'm all about like working with people I

care about. If I find a place where I feel safe and good and where I am morally compatible with the people i'm working with, I'm just like I need to be here, I need to stay here. And that was the case with her mind, and so I pitched them an idea for a column every month that had nothing to do with what they're scared The paunch fans, Yeah,

what is he doing now? He does a parade? I think he does that Hollywood Parade something like yeah, But anyway, I pitched them on a column about shuttered roadside attractions, amusement parks, you know, those kind of like tourist trap places that are along the route when you're taking a vacation. But I wanted to focus on the ones that had come and gone from the past. And so every month since then, I've been doing this column and loving it.

The research is so fascinating, and I've discovered some of the weirdest, most wonderful people, weirdest places, wonderful people. And the real exciting part for me with that column is that it's spotlighting people who came up with the crazy idea and then just insisted that it become a reality, Like stop at nothing to make this amusement park where there's alligators wandering around free, and let's make postcards where

children are riding on the backs of the alligators. And then let's actually let the kids ride on the alligators. Like this is one of This was real, and it was in Los Angeles. It's just one of many. But

I've really delighted in that. And the book is a compilation of the first i think twenty seven months of columns with some expanded information on each one of the parks or attractions in there, and put it together pretty quickly, and frankly it was I haven't talked much about this, but I can maybe plant a little seed here that when I was a kid, there was a book series

that I was obsessed with. I checked them out from the library so many times that the librarians would end up holding them for me when they got returned by other kids. So the next because I was there all the time. I'm sure my brother Mitch is watching this and he can testify to this. I mean, we're always riding our bikes to the library, and I was obsessed with these books. And then in they're called the Crestwood House Monster Series. Now, Crestwood House made many books on

lots of different topics. I really admire their mission statement of creating accessible books for readers of all levels, aimed at younger readers, but not shooting too high with the vocabulary and references, but also not dumbing it down to the point where it's boring. For so they did a magnificent job of that, and they I have so many of their books. I have all the monster stuff from

all their different Monster runs. In addition to their cryptozoology, they did books on things like skiing, like what is a Cow? And onto profiles of Ernie Banks and whoever else.

I mean, it was a really diverse, exciting brand, and I've always been obsessed with them and spent my life accumulating them at different thrift shops and antique stores, book sales and libraries and stuff, because they were only available to libraries, and so the ones you find out there, again, I wish I had them next to me here, But it's great because they sort of tell their own story

because they're tattered, they're worn. They have the cards in the pocket in the back with the names of the kids and the date that they had to have them returned, and I just treasure that stuff. And so there's a unique bond that many people my age have to this book series, and that ultimately the publishing company Crestwood House, and a couple of years ago I started working with my lawyer. My entertainment lawyer is Shelley Larry Zerner from

Friday the Thirteenth, Part three. He's always been so wonderful to me, and I hit him up one day with the idea, can we see if this is doable. Can we track what's going on? Because Crestwood had been silent for a very long time, many years, and we ended up long story long, we ended up working it out, secured the trademark, and question what is coming back. But there was a deadline for having to have something on

the market. You have to have a physical product on the market available outside your home state, YadA YadA YadA, proof of sale. And I had already filed two et extensions on that to hold onto it. And he reached out to me in January, yeah, I think it was January, and he said that the deadline was coming up again for the extension. He's like, do you just want me to file it? And I was like, no, let me see if I can do something. But and he goes, come on, because it was the part I forgot. This

is like January ten three telling me this. He's like, you have until February fifteenth, oh geez. And I'm like, no, let's see if we can do it. He's like whookerl like I'll be expecting your email about the extension and three days prior. It was insane and so I reached my one of my best friends in the world, and the only real coworker I have is my friend Lenamaker, who lives in Farmer City, Illinois, where I used to work for the Illinois Valley Press, Farmer City Journal and

some weekly papers there. Lynn is on teams with me all day. He's also my guiding light when it comes to like layout stuff, Photoshop tricks. He does graphic design for a bunch of projects that I do. He's like the angel that floats over me. One hundred percent is Lynn. I owe all my friends so much. Lynn is a very unique entity in my world that I'm eternally grateful for. But I wrote to him and I said, what do you think? And he's like, you can do this. He's like,

let me know how I can help. And I had never laid out a book before. I had never heard any of this, And so with Lynn's guidance, with his help, I was able to get this thing delivered and done like two days, maybe it was one or two days prior to the deadline. And I sent Larry the email with a screenshot of the confirmation of the sale, like the first sales and the ISBN information and all that, and so the purpose of telling that whole story is that that book this year was to secure or solidify

for me the Crestwood House trademark in trade. So now starting next year is a whole new focus and there's going to be many more exciting things to come on here and talk to you about and not wait two and a half years to do so. Relating to that, but it's one of my greatest, one of my greatest thrills in life because I loved those books so much.

I just I just adore them, and I'm excited to do a lot of crazy stuff with that brand again and give people that nostalgic return to their youth in a lot of ways.

And now Walmart's like, well, let's put I spit on your grave in here, and we got a box set of it. But this tremendous. I love the WNUF films, especially the first one, some of my most treasured, treasured discoveries over the last few years. Here, it's absolutely awesome. Are we going to take turns? Or should I keep going?

on my camera, hopefully it's not. But six discs, three films, soundtrack CDs and this nice Christian the author of this. I was so blown away when this showed up. I instantly started flipping through the book before I put any of the discs in or anything. I opened it. Yeah, there you go, there you go, I I love stuff like this. There's a great there's a great book. That's all. It's like, the complete Bigfoot Filmography is what it's called.

And in each case when I and it's thorough, it covers everything TV episodes, reality stuff, documentaries, feature films, and what Christian did with this book is very, very similar, and so in both cases I reach out to the author. I'm like, I love you and I love your work, and do you want to come do some stuff? And so I've actually been talking with Christian about teaming up

on some things nice because this book is awesome. I mean it covers everything down to I mean, it's very thorough and gets into like the direct to two B type films that we're seeing a lot of now, like the CG stuff, which is appreciated because I'm always always been a junkie for Shark movies and say, mix the Italian stuff with it. And then this tremendous book that was an instant buy from several and so that's kind of recent pickups. They've been killing it.

territory and more interesting movies you haven't heard of. You're going to show up for them and their guidance, right and that's what I think Justin's done with OCN in a lot of ways, and a lot of those sub labels are now building their own very dedicated fan and so it's a wonderful incubator for that kind of stuff

that no other label would pay attention to. I remember pitching stuff to some of the companies that I've worked with in the past, and they would just roll their eyes at me, like what, No, just no, you don't need to be asking us these questions anymore.

These all have almost thirty or a little over thirty in some cases short films wow that have been online, and you can still pick these up from Bloody Disgusting right now they're BDRs. But I mean, how often do you get shorts on physical media that aren't just a bonus feature as of some director's work.

In Do Again and the world of independent film festivals. People, if you are, if you're jaded by what you're seeing on streaming in theaters, I will guarantee you that within driving distance is a film festival that is going to offer you nothing but fresh ideas. Not that it's all going to be great. I'm not saying that, but I'm just saying like, if you're opening yourself up to experiencing something new, it's out there and this is the place

to go. And the thing is, the filmmakers are hardly, ever, rarely, almost never getting anything right out of having these films. In fact, they're spending money. They're spending and that's what a lot of people don't know is that to enter a lot of these festivals there's a fee and then they have to pay to travel to go attend. Not every festival brings you in and all that. So I mean, it's really a labor of love for these filmmakers and that's exciting. And I hope that they're licensed and cared

for by Bloody on those sets. I think that's a tremendous idea and I hope they continue it.

You know you're talking about shorts. One of the big thing too that I've always appreciated about some of these fests is most of these directors, this is like their most honed work because they've been gearing up towards their first thing four or five years, so they've been polishing it like crazy, and they finally make a fifteen minute short and it's this massive work of art that they've been working on since they were nineteen and here it is finally in front of the world at twenty five

or something. And now on their first feature, if they happen to get super lucky and can make it right after that, they only have eight months to make it or two weeks to make it, and it's not going to be anywhere near as polished or as fully thought out sometimes as that short can be.

it is, like I said, pure. The purity that's associated with the presentation in those films at those festivals is so great, and they don't have to worry about offending people, about crossing boundaries, about blending genres. It's like and there are some great film festivals that are open to whatever comes their way in terms of we're only a horror festival. Yeah, well,

what's considered horror. It's kind of subjective, and I love the festivals that are happy to blend, sort of mix the waters on that stuff.

abashedly frozen movies that I've ever seen. And so the weather was perfect that day. It was overcast and a little bit of rain missed outside. Cool weather finally here and I and so the stars aligned to go check this thing out. And it was a little talkie for me,

is what I've said to some people. Yea, and some of the dialogue it was kind of hackneyed, but that's the final act in that movie is off the rails, and I so admire the fact that they went where they did with it, and I love that remote, snowy setting at this yep, I mean pretty much abandoned camp. I don't want to spoil it for people, but the setting is bliss for me. And then when you get to that third act and they're just swinging hard at

the fences, I'm like, yeah, keep going, keep going. And I walked out very happy.

to essentially Alien. It's basically Alien Underwater, which I loved that movie from day one. They were quite like enraptured with it, which I love to see. A big thing about that movie is, you know, two and a half minutes into it is where it starts and it never lets off. So they were like, oh, what's this, We're swimming? Oh my gosh, here we go. And then for the next hour and a half they were just one hundred percent in, which was incredible to see.

the first one like that that they've ever seen. So this is one that they were sort of taken with as well, because I mean, this is probably the It's not even a super gory film, but there's like there's one scene where the guy's arm gets removed, and they show a lot of that, and so they were they weren't ready for those scenes, but it thankfully, it looks a little fake with the Allicator.

that tried to replicate its success. And we did Get Me Another Jaws this summer, and it was so great because I got to throw in all these weirdo movies that I was so excited to talk about but knew I'd never had the opportunity to. And we got into the Grizzlies, and I mean just the whole series was just a blast to do. So I'm a big fan of that sub genre.

And then they added in a bunch of contemporary like b roll footage of bears climbing trees and drone shots over forests and things like that, and released it with these celebrity names at the top top build, with all the raw bear effects in there, like untouched bear effects that are so bad and so great. It's really a masterpiece.

I could just go on and on the lately. Gambin was really the torch carrier for this world of for all eco horror, eco horror, and he wrote books on it and spoke on it and did screenings and even at the point where I was talking with Lee a couple weeks before his surprise passing, he was talking about doing this new documentary on this stuff, and John Campo Piano, a mutual friend of ours, it was like, this is going to be this thing, and then we lost him.

So rip Lee, for sure. But every time I throw one of those movies in, I gotta think of him a little bit too.

And immediately following the shock of it, somebody on the blu ray dot com forums, which historically full of all of the correct information, no drama, and absolutely trustworthy anonymous commenting, somebody commented and said, yes, screen Factory is exiting the physical media market. They will be gone within the next few months. Good luck with the sale, essentially is what they said, which is insanity. Screen Factory just spent like

two digit million dollars on this Golden Princess library. They have been investing in a lot of upcoming restorations the last couple months. They've been announcing almost twenty releases a month. Sure, many of them are the same four K discs in new packaging. However, they're selling like crazy. Anybody that is doing that. To exit the sector would be one of the dumbest decisions ever made. You're just walking away from

a shit ton of money. So on that front any comments from you, mister Justin Bean.

And the physical media thing is a conversation I've been having since I started in this business, back when I very first started doing this stuff. Are you, well, you know, physical media is dead and now look at all these indie labels that are doing great and whatever else. Even Paramount ended up getting back on the train with Paramount Presents and these other things. So I think my read on it, and I have no inside information on this whatsoever,

my reading on it is that it's, uh. It may be a decision made internally to transition how they're distributing to those fan club people are pricing it, or I don't even know what that plan was, so I can't really speak to that, but I cannot imagine that they're going anywhere and they What I will say with conviction because of personal experience, is that when I was working there, they were adamant that they were a physical media company.

I would pitch things to them about well because they eventually got shout TV underway, right the Roku app and all that, and I'd be like, I have stuff from these interviews that we could put on shout TV as like a bridge between the two, and we could advertise with the Blu Ray announcement like and there's extra content on Shout TV or something. And what I got back was,

we're a physical media company. I mean, they they were building Shout TV and obviously not shying away from their efforts there, but it was made very clear to me that that was not something that they really wanted to

dance with. So the whole time I was there, and granted it was a different lineup of people when I was working with them, Cliff and Jeff were evangelists for physical media, and they stood by their releases, they stood by their mission statement to do their best by all these titles the entire time that I was with them, And so I cannot imagine any company with that kind of framework being broken down to the point in such short order where they're just going to walk from physical media.

So I say, nay, I don't believe that it's the case.

Groove or Grove. I know a lot of people pronounce it.

shout studios. They all of a sudden last three days have more than seventeen hundred skews listed on Grove or Groove, So it appears that Groove is just going to be the one that carries them now and all there's stuff that used to be shout site exclusives that now say Groove exclusives on the Groove website. So it's pretty obvious like they're cutting out the middleman. They don't want to pay for shipping twice. It's probably costing them a ton

of money. Why pay for somebody to do customer service for you when you can just do it through groove.

do this. And there are also fewer duplication facilities than there were before now. I will say again from personal experience, back when I was working with the Halloween stuff, I wanted to do a forty five one year of the Halloween theme and Lourie's theme on a collectible forty five kind of a thing. And at that point there were

almost no vinyl presses that I could find. And I was talking to this company, Rainbow Records, that used to do custom presses, and they were down to do it, but we didn't end up doing the record, but within a couple of years they were gone. And now that's hence Ryan at TerrorVision picking up his own press. He's like, I can't wait for these people to do this, and I need to make sure the quality is where it

needs to be. So but now there's more presses than there were ten years ago, fifteen years whenever that was, I was doing the Halloween stuff. So never say never about any of this. And even though there are fewer places doing the duplication on the Blu rays and things like that, at this moment, you never know what might come down the road, and I think everyone is wise, especially as we're likely heading into some kind of depression

here the country. They need to be planning ahead and figuring out the wisest way to deal with this stuff financially so they can keep releasing stuff, so they can keep feeding the audience the titles and the kind of stuff that they're really hungry for, because the appetite's not going anywhere. It's just a matter of supply and demand. And so I don't know, that's my piece on it. I wish them the best, I think, I mean shout change my life. That company. They really did, They really did.

I mean, Fangoria changed my life, and then that led to Trancas changed my life, led to Shout change my life again. And if it wouldn't have been for Cliff and Jeff walking up to me at Horror Hound in Indianapolis, I think it was the show where it was the show where Jamie Lee Curtis did her one mention appearance and she was lovely to everybody and stayed way late

to make sure everybody got attention and all that. Anyway, I was standing in the lobby talking with Joel Robinson and up walk these two guys, and all I had produced at that point was Halloween four and five the commentaries on those because Anchor Bay wanted no special features and I'm like, no, we need to do this the right way. And they also wanted to change the cover art and the font for the logos and stuff. It's

hilarious what they wanted to do with that stuff. I hope someday I can show the battles that I fought on the Halloween four and five Blu rays and I tried to even bring Joel in for some art that didn't work, and Anyway, Cliff and Jeff walk up and they go, hey, we love your Halloween four and five stuff. Would you like to do more of that? And I'm like, yes, yes, I would, that would be great, and they hold up

the sheet. They're like, well, we have a few titles that are in cue to any of these, like we're launching this thing called screen Factory. But outside of the horror stuff, what else is there anything? And tank Girl was on that list and I was like that, you have no clue. At the time, I was talking with Rachel, the director of Tank Girl, about a book on it, and anyway, it's just like stars aligned for sure, and from there it was off to the races. And it's

never been the same for me since. So I owe them so much and I wish them the best. If this is a troubling time for Shout, which I hope it isn't, then I certainly hope they survive and keep on doing what they're doing, because anyone who's in this fight is doing it for the right reasons. I think.

for being real celebratory about their horror. If you think about the legacy of the Friday films and how they did those DVDs with the cover art, with like the long mask and the oh those were the worst. It's like they were just, Okay, we know we can make money off this, but we don't want to admit that this is really what kind of kept us alive for a long time. Right, It's a big part of their legacy.

So to find this Todd inside marketing as such a devout lover of horror was a great joy, and he and I have I mean, it was a bond and then a great partnership throughout that with me and Todd and the executives in there, and so that was their baby, the whole Paramount scream stuff. I was just sort of a cog in the wheel on it. Really, for the most part, I had originally intended to be a lot more involved than I ended up being, but due to scheduling and other stuff, it just wasn't destined to be.

But the Fangoria thing came around, and because of my history with a magazine, I think ended up getting to be the guest editor for that special issue that was inside that first box set, which is a tremendous thrill, and I have it in a bagged and boarded tucked away safely outside the confines of the box so I can pull it out and look at it anytime. It was a real honor. But I mean even that that was I have to say, it was like an honorary thing.

For the most part. I can take no credit for the majesty of that magazine or that box because the Fangoria team killed it with that with a combination of new and vintage articles that were in there, and then the box set itself. I mean, the marketing crew was so into the chochkeys, the pins, the patches and stickers and all that, and it's so beautiful sitting on your shelf. The slip covers that were unique to those editions, and I think my probably my biggest contribution is probably the

most reviled, which is in volume two. When people saw the lineup of films in Volume two, everybody was excited for Friday too, because Friday the Thirteenth, Part two was in that box on four K for the first time, the only way you could get it at the time. But also they put Breakdown in there.

I mean, they aren't really pushing these things. I don't want to put words in their mouth, but it's definitely a different scenario in there now that this Skydance situation has happened. And in terms of my relationship with them, I'm still friends with all of them. Todd and I message all the time and I sent him the album and whatever. I love them all dearly. But seeing the shots of the water tower being painted, yeah, they're removing the Paramount logo.

can get this out everywhere. They're claiming it's a Walmart exclusive, but a reminder that one of the other Walmart exclusives from them recently also showed up elsewhere, so the exclusive word might not mean what it used to mean. So we'll see decent film. We both liked it. Check it out.

nineteen seventy three. Lots of extras on this. We've got remaining fragments of lost films from him that are the only bits that they could find, which is so cool that they want to do this. We've got two finished educational films from the nineteen forties. Who else is going to put that on these? We've got new visual essays, new commentaries. We've got sixty page book with a bunch of different essays in it. I adore these films, highly

recommend you checking them out to Votulio. I'm sure this is not a filmmaker that you've heard or seen much from.

every single thing. There's gonna be martial arts, there's gonna be all this and a gorilla we're gonna put It's amazing. It's such a great movie and Alan Howard's score for it has been on constant rotation since Alan did a re release on that years ago, and it's so good. So there's my plug, completely unrelated to this box set for Jim Minorski's Lost the Empire, which does not have any animal castration in it, but does have a gorilla suit and plenty of kung fu.

nineteen thirty eight is an SD on this one. That's all that they could get from material, but again new extras, lots of stuff coming on this pretty giant box set for people that love James Whale and to get this from imprint. This looks really really good.

Whale and how this guy was so veiled in mystery. Yeah, you know, for a lot of reasons he was at the time, and I'm so happy that he finally seems to be getting his Not that he hasn't been celebrated for a long time, right, not saying that, but I mean this kind of stuff speaks to the fact that people are really paying attention now and people are really dialing into his work. It's great.

box set like they do. You've got again, new extras all over this thing, new audio commentaries, new appreciations, new interviews, just pretty much anything that you could want on these films that have not had great releases. So to have all this together is incredible. Are you a David Lean person at all?

Years Volume two. This covers nineteen thirty six to nineteen forty and has sabotage Young and Innocent, the Lady vanishes, foreign correspondents, and then Waltz is from Vienna from nineteen thirty four. Is an SD only, but it is on Blu Ray and uh yeah, good good looking stuff to go with that first box that they did again, exhaustive special features, new commentaries, new appreciations, pretty much anything that you would want for these titles as well and for

for Hitchcock fans. The Imprint has been given a lot for you to appreciate, that's for sure.

eighty nine. This had originally come out from Camp Motion Pictures, and this little hint in one of their paragraphs here says that they are working with Camp Motion Pictures to bring the one Slots film to HG for the very first time, and more coming from Camp Motion Pictures eventually from Terror Vision. The Basement Horor Anthology. Is this one that you've ever seen?

multiple like old TV spots. There are like Middleland Showcase, the Halloween Takeover from nineteen eighty nine, a couple other Midland Showcase, Horror Host TV pilots, FBI Guys episode, and then of course after all of that, they also have a CD of the soundtrack on this, like, this is an absolutely astonishing release of the Basement, which the previous release of this was pretty terrible looking, and now this is going to be the best release this has ever gone.

probably had the most fun with. I was so I love that movie my life, and I still had my original videotape that I got from a video store when they went under, and I just loved that movie and it ended up being I don't think we ever really talked about it, but it ended up being the director

Ray's final interview. He's like maybe first and final. He was so excited to be a part of that, and his wife reached out to me a few weeks maybe a month after it went down, and she just said that it was the greatest joy for him to have a chance to see this movie get some love. So it isn't just for the fans if these things are happening, it's also for the filmmakers, for the people who were part of these things that in like Ray's case, it's

a bullet point on his history. You know, he went on to do other things and he never really became the filmmaker that he wanted to be, and so to have it celebrated, especially at that time, was just so special. But I was cutting trailers for Terror Vision and we were doing all sorts of stuff in the beginning. It was tremendously exciting and how aggressive Brad and Ryan were about like we're gonna like, we got so much great

stuff here. We really want to brank this out. Just it's been great to see them the last like this rise over the last year here especially.

on wan to put on four K lately. I'm glad that they have confidence in this one, but not one I ever expected on four K. I know Julianne Moore was the big selling point for this, but I never checked this one out. Did you see this note?

there for four years, filming everything. During their journey. They snuck in furniture, tapped into the mall's electricity, and even constructed a wall itself, smuggling in more than two tons of cinder blocks.

extra sleezy in its plot. It wasn't like super nudity heavy, but the actual plot was sleezy, which kind of nice to see you in twenty twenty five when everybody's trying to go extra prude.

of the worst that have come out this year. Kind of curious to see this because Justin Long is like one of the best final guys in horror right now and not even right now for the last twenty years. And I don't know, it sounds fun and I'm supposedly it's real.

Love the cover right here from Scott Saslow. I think it is very eye catching. This is definitely what I'm going to be reading here soon. You can pick this up from the publisher, but also currently available from Amazon. And Daniel is a brilliant, brilliant mind. Very curious to

see how this turns out for everybody. I know this is probably a hard sell because if you are walking into this, you're not going, oh, I love that director, because the whole point of this is that you probably have not seen or heard of the director's name in much of anything. So kind of very, very very curious to see how this goes over with fans of film.

be on sale one week from today. October thirtieth is when the sale starts. This is going up at nine am Pacific twelve noon Eastern next Thursday. The first title here is a four K release of The Devil's Nightmare. They had put this out previously, and the Blu ray for this looked pretty poor. I think Modern Macabro would be one of the first ones to say that it is not one that looked great in HD, but it also wasn't a scan from the OCN and this one is.

So this is going to look leaps and bounds better than the previous release, brand new four K scan of the OCN, But on top of that, they're going above and beyond to make it a better release. We've got new interviews here with the star Erica Blanc and the director. We've got visual essay here by Christoph Beier. There's all kinds of stuff and this that look great and really make it worth upgrading even if you had the old

Blu Ray. I love landa mccopper. Are they a company that you've been deep into ever?

Lady Terminator. It's so good and every time they make these and I'm so glad they're still around, and I'm so glad that they're continuing to they're up scaling this stuff great, not upscale, but you know the fact that they're giving new love to these and putting him in proper packages with new special features, because a lot of their stuff just was languishing on DVD for so long, and there was this list of titles that I'm like, but at the top of it every time, and every

time I see their name pop up and they're making some announcement, I'm like, it's got to be Lady t Give Lady Terminator a four K release. Even Blu Ray would make me so happy, but they are the only ones who would do that. And I was so obsessed with Lady Terminator. After Discovery, my friend Jake got a copy of it and we used to do movie nights over at his old place where he had like a movie room, and he's like, you got to see this. Put it in blew my mind. I've talked, I talk

about it all the time. I'm like panels and stuff I bring. I love that movie. And then I tracked down Barbara Ann Constable, the gal who plays Lady Terminator in the film, an interviewer for Fangoria years ago, and she was so surprised when I called. She's like, how to is that out? Is that on video? And I'm like, yeah, that's on DVD. She's like, I didn't think anybody. It was a great conversation in the end, and really wonderful

issue of Fango that that was in. But one of my proudest and most excited moments was getting Barbara Ann on the phone and talking about that all because of Mondo, and Mondo is the only one who would touch a lot of what they have in their catalog, and I just adore them.

Tales from nineteen seventy three to seventy four. We've got introductions here by Jeff Thompson, We've got audio commentaries by David Delval Anthony Slide, and then the Turn of the Screw promotional short featuring interviews with Dan Curtis and Lynn Redgrave. I love that they're putting this work into these.

I did that with Nat Bremmer on the Umbrella, all of the Full Moon Umbrella stuff. I wanted NAT's voice throughout because like he's the authority, he's the historian, and so this kind of approach. It just shows that Keno's really putting love into it.

in December thirtieth on its own. Thing. Tell us about putting this together and the special features that are on here, because it's all you.

of its era. Quinlan, Kathleen, Quinlan is everybody, JT. Walsh, Everybody's so good in this movie. But it's not one because it's it's kind of overshadowed in the Russell verse. That's you can use that trademark real you can have that rund But within Kurt's catalog, this isn't one that I think a lot of people talk about. But when I talk to filmmakers people love this film, and getting to meet director Jonathan Mostow, who is so wonderful to

deal with and very open about the whole process. We did a new I did a new interview with him, and then I brought him in Kurt together for audio commentary, which was a total thrill. I mean, like Kurt Russell showing up in the Paramount a lot and it's like, I don't know, Elvis is in the building, and he played Elvis right for John Carpenter of all people, but it's like, Russell's here. Russell's here, and like the birds landed, and everybody was so jazzed for him to walk in there.

I'm I love his commentaries, just full stop, but also his Carpenter. The Carpenter russell commentaries everyone knows are so magical, but it's everyone's like, oh, it's just their magic. Masta was kind of a buttoned up guy. He's sweet, he's so sincere, but he's not a real jokester, I guess, I'd say, But when Kurt walked in the room and they're sitting by each other, it just became laughs. In

great stories and wonderful reveals about the whole thing. Kurt clearly hadn't seen the movie in a very long time, and he's like, what am I doing? What He's talking to the screen and making Jonathan laugh. It was magical to have them doing that together. And then the great honors of this one was getting Dino Dalearentis's widow, Martha Da Laurentis, in to do an interview, and she really had it brought a perspective to the table that I think,

without Dino's presence would have been literally impossible. And I've ended up working on a bunch of Dino dale Lorentis films over the last like five years, like King Kong's seventy six. I mean, it's like, I think there's probably like six of them that I've done over that span.

And so to have Martha come in and do that was so great and she was amazing, and then she sadly passed away just a couple months later, and it was so unexpected, and but we have her here right like, I don't know that she's on any other release, but we were lucky enough to bring her in for this.

And then the great find Imprint had done a maybe I think it was a blu ray of breakdown that landed a few months, I think even before Hours did from Paramount, and there was talk of the alternate opening sequence on theirs, but all they had were like grainy screen caps of it. And I had the benefit, again,

no magic on my part. I had the benefit of the amazing Paramount Archive team who were always down for the hunt, like, Okay, it doesn't matter if it's on our sheet, We're going to go look, we will open the vaults, we will literally go and dig. And I found that over and over with them the whole time, and that was one of the greatest joys of being part of that whole operation, was the Archive team. We're just warriors, warriors for the cause of preservation of this stuff.

And so there was this alternate opening that the studio ultimately wanted Jonathan to shoot to spice up the beginning of the movie. We now look at that opening with the car in the desert, how the titles interplay with the shots and the row and it's just so perfect, and you think, God, how could this ever? Who would need to do something different with this? Well, what they wanted to do was Kurt Russell with a camera on his shoulder and this village where these women are being

shot and all. It's just pure insanity, like it starts off like a Trouma movie almost, and Mostow hated it, but of course he told me he hated it during the interview, and I'm like, let's see if this exists, and then I go to the archive team and in short order they're like, yeah, we have everything. It's all here. And so it took some discussion with Jonathan and he's like, well, if we can present it where I can talk about it, like do a commentary over it, we can do this.

And I'm like, psh, cool, all right. Paramount team is all like, yeah, let's do it. Let's do it safe. And so we did it. We got to present it, and there is an option to turn Jonathan's commentary on to hear him explain what they did, but also kind of why he didn't think it fit. I think everyone will agree with him on that, for sure, but one of the greatest releases of one of the best movies of that era, and certainly like Kurt Russell's whole catalog.

Kathleen Quinlan. I had interviewed her on Twilight Zone years prior for a famous Monsters magazine, which I was nerding out about because I'm a big doors fan and being in the doors and I was, oh, man, this is amazing, and that same feeling was back again, and getting a chance to talk to her on breakdown. So the whole thing just a thrill, and it was done at the height of COVID. This was like the heart of when

we couldn't really be in the same room. And even though Jonathan and Kurt were in the same room, they were on opposite ends of like a row of theater seats with one of those air purifier things, the big industrial ones in between them, silently chugging away to keep the air clean in the room. But it all worked out and it was an honor to be part of Incredible.

his instructor, the curriculum, and most chaotically with himself. This is produced by Luca Guadaninho, who just released a film that seems like the whole world hates right now. This has deleted scenes in the trailer on the disc and I will hopefully beginning this is part of my subscription here soon. Love Oscilloscope, love what they do. Any thoughts from you.

These are coming to four K and Blu Ray here in the US, all on December sixteenth, and we're going to cover all four However, before you start asking, they are putting out a box set of all of these plus Return of the Pink Panther all together, all on four K in twenty twenty six. They're just letting them live and breathe on their own as single releases first, so if you want to be patient, you can pick up a box set next year of all five of the films. As far as extras, they got all kinds

of extras on these. How many of them are new? I count zero of them as being new. However, it's just really great to see them in print again. And not to mention, these will absolutely look really good in four K. Are you a Pink Panther fit? Have you ever checked out anything?

we've got interviews. They look like great releases. The third one, of course, is The Pink Panther Strikes Again. This is nineteen seventy six. Reversible art on all these as well, which is pretty neat from Keino. Love that they're doing those again. All kinds of old extras on these. And then the final one, Revenge of the Pink Panther from nineteen seventy eight. Not as many extras on this one.

There just wasn't as much on the previous releases, but it does have an audio commentary, has some TV spots and stuff like that. Yeah, December sixteenth, it's going to be a busy day if you love the pink panther full Moon, who Justin has worked on many things related to full Moon. They are currently running their Halloween sale up to fifty percent off sitewide and a cool thing that they don't always do. If you spend a certain thresholds, you get some free gifts. If you spend one hundred bucks,

you get two of their tiny tears. If you spend two hundred bucks, you get a plush doll set. You spend four hundred, you get a full bobblehead collection, and if you spend five hundred, you get a baby Oopsie full on replica. Now all of these have to be in one single purchase, so it's not combining if you buy multiple things. If you want to go for the free thing, make sure you get it all at once. My link for the sale if you want to check that out, and another tab is in the chat there,

full Moon. What are some of your highest recommendations from full Moon's catalog there?

cancelation notice. I didn't have to subscribe for a whole year or something. It was just insane how they were just shoveling stuff out with this perpetual sale at that point of that stuff. But I have so much admiration

for Charlie and he. As John Carpenter said years ago to me when I did this sort of stream of consciousness career spanning discussion with him for the Fangoria Legends magazine, I would just say a name or a place or a film title or whatever, and then he would just tell me the first thing that came to his mind. And I said, Charlie banned, and John goes, when the apocalypse happens, there will be two things left on this earth.

There will be cockroaches will be Charlie band and I don't know, and I don't think he was comparing Charlie to a cockroach necessarily, although I don't want to speak for John, but his endurance is just remarkable, and getting the chance to work on all this Full Moon stuff through Umbrella has been a blast. And so many of the people that I'm tapping on the shoulder to come in for interviews are like, I cannot believe this is

getting re released. I can't believe people still care about And I hear that all the time about a lot of titles, but with the Full Moon stuff, it's just remarkable how he keeps doing his thing, and how consistent he is with his focus on small things and his love for dolls. I think is worth applauding. I don't know where do I start with the Full Moon catalog. I would point to early movies. I would point to his early stuff. I just finished working on Tourist Trap,

for example. I think that one is a real big standout, especially in their earlier catalog, for what Charlie was doing. Although it's not Full Moon proper, it's Charlie Band production. There are spikes in every If you want to say decade or maybe even break it down by like genre run or subgenre run. There's spikes of good stuff in there throughout, and I think Tourist Trap was an early whoa, you got Ted Nicolau, you got David Schmoller, I mean

Chuck Connors for that booklet. For the booklet, I did this exhaustive essay on Chuck because I love him so much. He's one of my favorite all time actors, and I'm like, when else am I going to get the chance to talk about Chuck? And so I did an entire life story of Chuck Connors for that booklet, and it turned

out really a loving tribute to the guy. But anyway, the Full Moon catalog, I mean can't say I'm down with Ginger weed Man and whatever all the stuff, but I do like a lot of it, and especially their early things, and I will always admire the audacity. And it must be said, when I did the first Full Moon box set for Umbrella, the one special feature and the thing that I applaud Charlie the most for, I

had to do something on the video zones. For those who might not remember, at the end of Full Moon videotapes back in the day, you'd finish watching the film, you let it keep running, and there's a video magazine I guess you'd call it. That would be at the end of the movie talking about the movie you just saw, so like the making of the movie you just saw, and then teasers and behind the scenes for upcoming films.

And it was revolutionary because the laser disc really ultimately gave way to the special feature I think, being tethered to these movies in the first place, but Charlie, through his partnership with Paramount in their checkbook until it wasn't, Charlie, to his credit, came up with this idea to offer people so much more and watching through those video zones, even the ads that he had on there for the merch This stuff is nothing new which you have up

here on the screen, like dolls and toys and whatever else. He's been doing that from the very beginning. He's always been a big picture guy who does some pretty inventive and absolutely bold things with what he's doing and unapologetically. So I'm always going to applaud that.

of this. I will say there is a four K of this that came out from I want to say, in France or Germany or somebody like that, and this is likely going to be the same scan of that four K, because I believe the elements are gone for this one, and that thing did not get great reviews. However, if you love this movie, this is probably gonna be the best packaging this will get. This will probably be the best special features this gets. This will probably be

the be all end all of this film. And if you already have the Discothech Blu ray, I just take that Blu ray and if you want this, put it in the case with this, and you got pretty much a definitive release of Suicide Club.

cards and posters and slip case and numbered everything. New audio commentary with Alexei Tali, Choleapolis that maybe and Blake Howard, and then there is going to be The Horseman in the Australian noir genre with the screenwriter and author Maria Lewis making of the Horsemen Director's cut remaster, new director's cut trailer, and then all kinds of archival extras with this one pretty loaded. Have you seen this one?

and it looks like a really fun release. You had a new audio commentary with Alexander Heller Nicholas, who is on seemingly like forty new releases a week, so not surprised there, and then Martin Kataro on The Innkeepers is doing a visual essay, and then another handful of archival extras. I love Ty West. Are you a Ti West person?

not always possible. And then also if there's an element issue, if there's something where they can't get to the point to justify the four K in terms of available materials. This goes for all distributors, all labels that it just doesn't make sense just to upscale something. And so in that kind of a case, I don't know what the dealer is with Innkeepers, but I.

This release is going to have an audio commentary with the directors, discussion with the director and with Alexander Heller Nicholas. I have not been able to see this one yet. Have you been able to see this? Probably not.

in particular. I think beginning is I really, I mean, they're both good, but I think the Beginning is even better than the Yeah, the first one. There anyway, more Chainsaw, the better, says I. And there can't be enough exploration. And there's some great documentaries vintage documentaries on the film already that are pretty incredible. But why not.

of things. Why not bring him in here? And it was really It starts with a clip of him on Latterman or something like that, or maybe Conan O'Brien and he brings Chainsaw up of all movies as like his favorite film of all time, and I was like, wow, he is a lover of this movie. That's like when I did Bad News Bears for Paramount and Kevin Smith wanted to be on the disc talking about Bad News bears because it was the movie that made him want to be a filmmaker. And he's crying to me during

the interview and stuff. I mean, it was remarkable. So when these folks who have made it reach out to continue paying it back to the source that led them to whatever they're doing, wonderful, wonderful, wonderful thing.

soon myself. We got a limited edition booklet in this one with writing. There is going to be new commentaries on both films by Jonathan Roots. There's gonna be new visual essay on the work of Kyoshi Kirosawa by Joe Hinkenbottom. But the big thing is this limited edition will include Cloud. The future standard release will not, So if you want Cloud as part of the release, you got to pick it up as part of those first two thousand copies.

Have you seen Cloud? Or are you this Kurosawa type of person.

that came out right before Teen Wolf. This is a loving tribute to teenage monster movies of the nineteen fifties. You've got let's see limited edition booklet with new writing by Craig ian Mann. We've got a new commentary by Steve Mitchell, archival commentary with Lary Cone himself, new visual essay on the History and Evolution of the teenage Werewolf films by Kaja Frank, the author of the ego Gothic Werewolf in Literature. Love that new interview with Michael Doyle.

Have you seen Full Moon High?

I don't think I've seen you talk about these.

for Fernando Torres. She's supposedly incredible in this. Yeah, I need to see this. The next release is probably one that we can both speak on Hearts of Darkness from ninety one and getting a four K release here in the US from Lionsgate. This isn't too big of a surprise. Studio Canal just put this out in like one of their fancy giant box sets in the UK. However, this release, I gotta ask, what is up with the Coppola arm pit sniffing cover art? That we went west.

that's mine. Sorority Babes two was not on ours. I don't think that worked out for our release, so it's basically the commentary the Brink Stevens thing and then the booklet, and I think the Umbrella release may have had a couple more features on it, but anyway, it's nice to see it move on and like we were saying, good.

but I never see the result of it. And he was so happy about how the documentary ended out. And now Ryan, it's invisible. It's nowhere it was supposed to live with the film wherever it was on Apple or whatever the hell else. It's like it never existed in the first place. And those movies, too, they're very hard to find. And the documentaries I did on these things are just dead and that's heartbreaking.

telling me the scans on these are older. But if you ever saw the release of The Warrior that came out, I think that was last year. That was a twenty year old HD scan that they put on disc, and it still looks like it was just done. It's that good of a scan on it. And they're doing the same thing with these. They supposedly look amazing. This is going to be a two disc set with an exclusive slipcover and reversible inner sleeve. You've got all kinds of

extras on here. Introductions to both films by Joko Anwar, another great Indonesian filmmaker that's been You've probably seen at least one of his films on Shutter Visual essay called Monsters Movies, A myth by Jake Gallo, extended two hour version of Mystics in Bali, which is going to have I think it's SD cut ins from like the only like tape master that exists of them, But at least you'll be able to have it if you want. I love both of these movies. I do too, great great

stuff from Monto. Colden says, I'm excited every time I add a Suzanna film to myself shelf, and you should be absolutely What a way to follow that up by The Slayer Man coming to Blu Ray now. This is now available in the US from somebody called Vantage Media. Not sure who those guys are. I'll get a trailer, featurette, commentary track, and a music video. But hey, this exists on HD here in the US.

four K Supposedly this movie is beautiful. I know that everybody loves the old Jim cavizl Knamani Crust Monty Cristo. If you watch the trailer for this, it looks almost like a shot for shot, like it is beautifully shot like that. This to me seems like it's quite worth looking out for. Wow. Well, go USA putting out The Mannequin on October twenty eighth on Blue Rain DVD. Here in the US, this sounds very odd. It says, when an aspiring fashion designer mysteriously dies alone, most people accept

it as a tragic suicide. Her sister remains unconvinced and returns to the historic building to investigate, but unsettling paranormal experiences quickly escalate. Leanna discovers this Los Angeles site holds a terrible secret. It is haunted by a killer who brutally holds a tear or sorry, who brutally murdered and dismembered his victims decades ago. She and her friends must escape the ghosts deadly grasp before they lose their own limbs and lives. This is a wild cover on this.

Keno does not put a ton of effort into some discs, But the fact that they went out and got two brand new interviews with two people that, let's be honest, probably won't be around all that much longer for either of them. I love that they did it, and I love that they did it for Babe, Like this was a huge thing, and the next one that we're about to talk about was a huge thing on top of

this huge thing. But nineteen ninety five's Babe, and then on the same day, nineteen ninety eight, it's Babe Pig in the City City also getting a four K.

I believe there's a couple at least in here that you've worked on, So shout them out when we get to him running through them real quick. In the Mouth of Madness four K from arrow The Resurrected four K from VS getting its release. I will not mention the VS stuff because a lot of that stuff we already

know about has already shipped to most people. Edwards Sisserhand's four K from Disney coming in a steel book, Miss forty five four K from Arrows, Such a good movie, Nightmary Ali four K, the updated noir version from Germo del Toro for Criterion. The shin Godzilla four K releases are going to be shipping suddenly. We got Arcane Season two Chinese Ghost Story Trilogy from Shout next week, Death Wish three on four K from Keno. Scooby Doo on

Zombie Island is getting its Terror Time version release. The saw Too Steel Book is delayed till November, but that'll be coming soon. Dust Devil four K from Keno. We've got the Dan Curtis's Classic Monsters for next week. Trick or Treat Steel Book from Arrow Brand. New Toxic Avenger four K stel. This is the one that our special features on for Cinaverse. Check that one out. Student Bodies four K will be shipping here soon from terror Vision.

Golden Boy from Disco Tech. Dead of Night that we talked about earlier is coming out next week from Keno. Deep Crimson four K from Criterion Kat and the Canary four K from Keno. Gator Bait four K from Terror Vision is not shipping anytime soon, hopefully in a couple of months. That thing has taken a shit ton of work and it's it is off to the races and

will be in everybody's hands as soon as possible. Mal Pair TWEE from Radiance is showing up in people's mailboxes now the Hallowing three season, The which four k steealbook from Scream is coming out next week. That I believe that one was an Amazon exclusive, so check that out. Terrifying Girls High School. That's one from Disco Tech that I need to be picking up soon. Mega Man the complete series from Disco Tech as well. My vote for

maybe the worst cover art of the year, Relay. This cover is terrible because it's not even like bad photoshop. It's like first grade photoshop.

Book is next week. Out of the Fog from Warner Archive, Manhattan Melodrama from Warner Archive, The Madness Mattin from Werner Archive, Americ Conna from this year, which I was kind of surprised. I liked quite a bit the best Christmas pageant ever I've heard is really good, and I'm gonna try to figure out if I'm going to get that one on dis because I need to see it. Common Writer Amazon from Discothech, The Master of the Lentree from Warner Archive,

The Third Wife from Film Movements. Uh, there's a lot next week for whom the Beltos from anyways, any of these that you are either involved in or excited to pick up soon?

know what else to say about it. I wish they would release Scooby Doo and Kiss movie because that is one of the great sort of buried gems for Kiss fans, because have you seen that movie years ago?

So I can't say enough good things about that. And I would love for that to get blue ray with interviews and things. I would yea, how cool would it be? To have commentary with Paul and Jean or something like that. Oh so cool.

And I'm like, it's just me and he's like, no, you need to have a company and like and there's this whole convoluted story behind the name that I won't bore you with, but it has to do with professional wrestling and witches and Salem and this whole thing from years before. That may be for another day, but I pulled that out of my out of the air at the time when we were sitting there, and that's how Reverend Entertainment was born.

It's not really where I belong. But he said his way around that because he felt the same was he's like on his famous story on Halloween seventy eight when he said, okay, well I'll do it for that amount if my name can be above it. And he told me that's what gave me my career. And he said, whatever you do, and make sure your name is there. And I'm like, all right, this will be my shortcut to not having to talk like promote things so much, and whatever, and so I put that above the Reverend

Entertainment name and it's stuck ever since. And it's been just a crazy journey of ups and downs and all kinds of side roads with small labels and personal projects like Sleepway Camp. I took to shout body Bags, I took to shout so some things that I've ad actually sort of cultivated and taken in hush. I'm not hush. Haunt was that way. I remember, I think you and I talked about the hot Box set with Ronan and how great Ronan was about just letting the three of us, Scott,

Brian and I just run wild with that thing. So man surviving COVID through this. There was a time when I stepped away from the business for a while because I was so burned out, and then I came back for Silent a deadly night and they drew me back in and it's been crazy. I mean, I didn't know where to begin, but yeah, seep Away Camp is the

first time that my name was on it. The first ones I produced were Halloween four and five, and then there was tank Girl and tank Girl happening, I think kind of simultaneously with Sleepaway Camp, and then prior to at the same time as those, Michael Felcher, the great Michael Felcher, who's like one of the gods of the realm of documentary and special features, brought me in on Prince of Darkness when he did that for Shout and so I interviewed John and Alice Cooper for that, which

led to this whole thing with Alice over the years a number of times. And he also brought me in on Town That Dreaded Sundown.

and it's just so good. And so I brought in the case the case historian James Presley, who is in the middle of writing a book that's now out on that case, and he was on one side of the conversation talking about the case. I was on the other side talking about the film and Pierce, and we had a discussion that ran on that commentary. And I don't put myself on commentaries unless I asked to, or unless

it's like absolutely necessary for some reason. But on that one, I mean, it was so early and I didn't have anyone else to put in that lot. So it was an exciting conversation. And so as much as I tipped my hat to I was giving credit earlier to these other folks Shout and Trancas and all that I have to also do the same for Felscher because he had no reason to bring this dumb ass from Iowa in to cover any of this stuff, and he did, and I'm forever grateful for that.

half years of work for this industry behind me. Now it's kind of crazy, and a lot of that is because of people like you that kind of After Anchor Bay came in and set the bar for a lot of people, You and Lee and a handful of others said well, but what else can we do? What can we do to push the boundaries? What can we do to keep this alive? And now, I mean when Scream Factory approached you, what they weren't even screen factory. They

were shut factory about Halloween four and five. Now look at what they've done since then I mean, it's an explosion.

that the first Scream Factory title? It may have been, but they were underway with the Fog and something else I can't remember.

but it taught me to want that. It taught me to enjoy taking the side roads, to enjoy the weird, embrace the arcane, and there are there's stuff that I got to do with Shout that I wouldn't have ever gotten away with with a lot of other labels, Like on Willard, I brought in the rat trainers for audio commentary, and a lot of people are like, look, no, no, no, listen.

I hardly had to say a thing because they had such great stories from wall to wall, and not just about that production, but other things in that realm that the veil isn't lifted on very often, right, And so that has become for me, and that was learned through those early days with Shout, just like Chris Alexander at Fangoria, who ultimately I owe like he's one of the very earliest mile markers for me in terms of someone giving me opportunity, and Chris was always wanting the weirder, the better,

and even though he's not with Fango anymore. He's continued that with Delirium, his own films that I think are brilliant. I love his cinema, but that combination of the Fangoria Chris Alexander approach. We're not going to put Spider Man on the cover anymore. Now you can do an article on Malatesta's Carnival of Blood or Lady Terminator. We're going to put Alice Cooper on the cover. That kind of stuff, and I think he had been on there before for

Fango before mine. But it taught me to get weird, and that's something that I've always really embraced and to find, Yeah, to make time for as many voices on these things as I can, and however I can. Is it always possible to get in the room with them. No, the budgets have never been big for this kind of stuff. But what matters to me is the discussion. It matters is the conversation and the preservation of the history of the movies and these people. So however I have to get there.

brand new cut, gets all this other stuff. The big thing I want to bring up we get a video audio commentary for this was that your choice was that a Flannigan choice. Tell me the story behind it.

the whole cast together at his house. He opened his home to us for two and it was me and my team and the internal producer Jeff Roland at Shop Factory and they like, I guess you'd say, executive producer and Mike and Katie was so amazing and so open and hilarious, and the vibe was light, the mood was up, and everybody was just relaxing and loving getting a chance

to catch up. I mean, they had seen each other on other projects like Midnight Mass and whatever else, but it was like old home week for those folks to get back together and talk about this movie. And Mike's house is a museum of the most amazing things. And our rapport kicked off in the best way because he was giving me a tour of the house. He's like, we can shoot anywhere you want, whatever you want to do.

He has a theater in there, black mass mannequins in the Midnight Mass mannequins in the back with the dice on the walls. He has like all this memorabilia from the Natural and Feel the Dreams and the rocketeer and the hat from Doctor Sleep and all this other I mean, and he's like, yeah, pick it up, check it out. He's got he's got Tom Servo and whatever. It's insane. And he's giving me the tour of the house and

we go into his office and I freeze. There's a cane on a stand right by the door, and I said, oh, my god, is that what I think it is? And he goes, wait, are you a Storm of the Century fan? And I'm like, is that Lenoja's Cane. He's like, that's Lenoja's hero Caine from Yes You're a Fan, And I'm like, am I a fan? I love Storm of the Century and it has one of the best audio commentaries in the history of audio commentaries, by the way, yep. So it was a very quick bond. And he said, well,

then in the corner and let's keep talking. And I turn the corner and find myself standing in front of the most incredible Stephen King collection I have ever seen. Yeah, the other memorabilia is cool, but I'm a King guy, and I being close to like the box set edition of the Stand and all this other stuff. And then I look down and there's the typewriter from Misery, Oh jeez, and there's the hammer from Misery. Mike Flanagan isn't just

getting a chance to work on Stephen King's stuff. He is fulfilling a lifelong dream to work on Stephen King stuff. And he's not coming at it lightly. He lives it.

If you enter his home. The man lives it, he really does, and I cannot say enough great things about him and that whole I mean, everybody who came in to do the interviews was so generous with their time and their storytelling, and I think it's a great portrait of a guy early in his career who did something in a newish medium, the streaming thing, who had some complicated relationship with that eventually right, and that's why he wrestled back the rights. And to your question about the

video commentary on that, that was Jeff Roland. So that's the internal executive at Shout Factory, and he came up with the ideas like can we throw a camera up in the corner of the room, and so we did it. It was it was kind of crazy because I had to be hopping in and out of the room because we were like doing other stuff out in the kitchen

area where we had gear staged and things. So I would come in check the audio, head back out, and I think to cover me in that they put like the box of the movie in the middle of the screen where I was sitting, which is kind of meant to sort of hide me getting in and out of that room all the time because I ruined it. But anyway,

it was an honor to be part of. And Mike's incredible and he sent the sweetest email when it came out once well shortly before after he saw everything and it had approved all the special features and stuff, and I had all this. He gave me everything from behind the scenes. He gave me all of the BTS stuff that anybody shot with their phones with ePK anything, and I got to use it all on the documentaries and everything.

And I just love the guy so dearly, and that experience is something I'll never forget, never forget.

all that stuff for now. I mean we all kind of know it's probably coming again soon.

and ever, assuming nothing would happen with it. And then it became a running joke with me and the people inside Paramount where we'd have a meeting about Paramount scares or about breakdown or whatever else, and I'm like, and I can't wait to get going on Bringing Out the Dead and they're like, oh, justin, You're such a dick. Eventually, though, I think it was with the aid of Killers of the Flower Moon happened. Yeah, the door started to open

around it. And then it became a waiting game for Scorsese and Cage because Scorsese it was in he was reshooting, reshooting, reshooting, He's back in Oklahoma. He's back in Oklahoma, and we had to be patient, and Cage was on board, very enthusiastic. He would be doing media events for new movies that had landed and he's in the press queue and they're like,

so what else you got working on? Well, I'm really excited that Bringing Out the Dead is finally going to get a proper release, And I'm going to be part of that, Like he was talking about it on worldwide media TV and stuff, so I'm like, but it did get to the point, especially with Scorsese in his schedule, where it was like, Okay, is this going to happen? And I give all the credit in the world to the internal team at Paramount, because at any moment they

could have just pulled the trigger the transfer. I mean, they could have put that out bare bones or not with at least the previous features that were on that DVD from years ago and left it at that. But

they were so wonderful about being patient and man. And then, just like so many other things in entertainment, I get the call that or the email that Scorsese's available, and it's like, but it's like this Friday, and you have one day before he goes on this international media blitz for Flour and it has to be in New York City, and here's a list of the hotels that are acceptable to film that and this Friday, so let us know what time you'll be here.

couple of days. Oh I contact. I reached out to Paul Schrader, who was super excited to talk, which I was thrilled about because I don't you know, you never know with Paul that he was wonderful on the day and very generous with his time to and then we found all this unused ePK stuff interviews from the set of the film that nobody had done anything with, which

is an unreal fine. The only other time we encountered that was on oh, on Golden Child, which was one of my early Paramount titles, which that's the bulk of what we had to work with was just this onset interview stuff, and I'm like, this is you and I couldn't put it all in there, but I really really wanted to, just like, let's put these interviews uncut. Eddie Murphy is talking about his concept for the movie Raw

during shooting of Golden Child. It didn't have a name yet, but the way he describes it, I have this idea. And he's giving all these kudos to Richard Pryor. No one can do a stand up comedy movie now that Richard mastered the craft. He delivered the ultimate and I don't even want to touch it. So my idea is something a little bit different. There's going to be characters

and I don't know, you know whatever. It's amazing you see that stuff, to see that, so bringing out the dead all of a sudden in front of me is Tom Sizemore and Van Raims and John Goodman. I mean, the whole cast is right there, Patricia, everybody nice on the set of the film with all this behind the

scenes stuff. And then Bob Richardson, who has always been great with me, like I've done a bunch of the Oliver Stone movies, and Bob was always down to come and talk and we bonded over all love for the doors early on, and so he showed up for it the best. Though I'm the hugest Nicholas Cage fan and never would I think that I would get the chance to go hang out with Nicholas Cage. Chris Alexander back to him from Fangoria has an incredible that Trump's mind

by a thousand percent story about Nicholas Cage. Those of you who are watching search for Chris Alexander and Nicholas Cage and maybe the word island. There's a whole story about when Cage reached out to Chris for an interview and it might have been on Ghostwriterer Movies or something must have been, and he's like, yeah, we can do it, but you have to come to my island. I'm not going to spoil it for you because it's worth reading and it's so much better. My paraphrasing would not do

it justice. But Chris made it like an overnight flight down to get on this little rowboat, like it's shuttled out to this island where he's eating snail penises and stuff with Nicholas Cage. This is all real and you need to check it out. People, So Chris Alexander, Nicholas Cage,

and Island. Look it up. My story though, going to Cage's house in Vegas, which was the best experience interview wise, I think I've probably ever had because it was him, because it was his house and his environment, I mean, And he couldn't have been sweeter the whole time. He couldn't have been more grounded, more real. He had made notes on his phone to make sure he talked about

all the stuff that he wanted to talk about. How many people that let me the number of people who have walked into interviews with me in what like fifteen years now or whatever with notes, that's it incredible. He kept he had a new baby and he wanted us to meet the baby, and kept walking over Like as

we're setting up, he's hanging out with his kid. He's got this grand open plan for his layout of his house, this massive fireplace in the middle, a dining table that's like the one in Batman when Vicky Vale sitting on one end and Bruce is all the way down here and they're like, what, I can't you know? It's like that's Nick's life. In his dining room, There's an aviary in the back of the room with a bunch of large birds living in it. There's fish tanks everywhere, horror

posters all over. In the middle of all this are little tikes, climbers and plastic houses for his kids. But the thing he was most excited about out of all of it was he's like, I got to show you my new room that I just finished. Yeah, it's downstairs. Did I tell you about this already? No?

if you live in Vegas from what I understand. And anyway, you go down this little staircase and it's a hallway that's covered on all sides except the floor and black light posters like what we used to have when we were the fuzzy and you get him at fairs or whatever and they have like a spencer, Yeah, Spencer's there.

You go the grim Reaper like holding a snake and I don't know ac DC and shit, and but it was all this all the way down the hall and there's just a little room at the end of it, no doors, just a hallway, which I'm sure people have probably been murdered, and whoever lived in this house before? And then Las Vegas come on, gangsters or whatever, and he's like, I hear him, isn't it great? He was so proud of his black lights in this underground hallway

in his house. He was just charming and wonderful and sincere. And at the end we were talking about other movies that he wishes would get this kind of treatment, and we agreed on Peggy Sue Got Married. Yeah, we talked about a few other films, but he was from the moment I got there and he opened the door. He's just a family guy. He is. I mean, there's all there.

Everyone thinks there's crazy Nekroa's cage, but I can say when you see him at home, he loves being around his kids and his wife and a man in his black lights, was a man in his black lights and his aviary full of giant birds and giant dragon sconces all over on the floor and Batman table. Awesome. It was great. And then when it came out, I was so so excited and singing from the mountains about this thing.

And then it sells out so quickly because that was part of the Paramount Presents series, and if you're a recall, when that was going, all those were limited, yep. And I think that happened on Breakdown too. I think Breakdowns sold out pretty quickly as well. Some of the other stuff I did, like Blue Hawaii didn't do very well, even though I was super excited to work on that and a few but for the most part, a lot

of those titles did very very well. And then it just became again like me being annoying about bringing out the debt again. Now it's okay, we did it. When is it going to hit General Catalog? When's it going to get hit General Catalog? And I sent that same email today a matter of hours prior to you and I connecting to ask once again, is this going to happen? And I'll just say never say never, and I certainly hope that it happens sooner than later, because there's still

people asking me about it all the time. Of course, And it was the and that was it, that was my that was the swan song. That was my final project with Paramount, which is crushing but also at the same time so perfect because it's the one that I was like chasing around and the one that we had to be so patient with and the one where I'm

in the room with. I mean, just all of it, the whole, all the stories behind it, all the lead up, all the hu above, the rush, the week of the shoots in New York, Paul Schrader's showing me is the Finger where Scris says he's dog bit him at some party. I guess anyway, he had a big bandage on his family, Like what happened? He's like, we'll ask him. You know, his dog bit me. He told you.

I mean, you were mentioning the archive. Literally everybody as a Paramount deal always mentions this because most studios will say no, we don't have anything and that's it.

but definitely ads and posters. The movie is about a military prison being overthrown by the inmates, led by Robert Redford, who's put in there, and the poster was like two military prison towers on fire with a tattered flag in the foreground. And then nine to eleven happened. Yeah, and so they had to recall the whole ad campaign. They

sent out apologies. I still have I tracked down on eBay some of the materials that were sent out to different newspapers and theaters like we're so sorry, poll which you have used this stuff instead. And so as a result, the movie just came and went. It just absolutely disappeared. It's a real powerhouse film and that was so much

fun to be part of. But one of the stories, similar to with Breakdown, the director when he was talking to me about the impact that nine to eleven had on the film, and it's not just its release but

the film as a whole. Originally that film and they shot it was meant to end spoiler, Can I give a spoiler here where people are seeing Okay, the film, Redford's character passes away and it was to end with his military funeral, and they and at the end of it, in this very symbolic gesture, the flag from his coffin is folded up and then handed to his daughter, which is a certain moment of closure that if you watch the film, you know their complicated relationship is very much

at the heart of a lot of the movie, and so it's a moment that really matters. It really did. But I understand their desire to not have something like that at the end of movie at that time. I very much respect that, of course, But when I was talking about it with him, he mentioned that he's like, I've never even seen the footage. I don't know what

happened to it. But I don't know. And so I went to the archive team and I'm like, if I could just get some stills, if I can get anything, if we have any scraps of that day, And they came back, to my astonishment and said, not only do we have it, we have everything on the day. It had never been assembled. But it's like take one, take two, take three, take one, take for the whole thing. Like you're seeing the trumpeters, you're seeing the hands over the casket,

folding the flag. It's all there, and the scratch audio is all there too that they had on the day. I only say scratch because it wasn't processed and cleaned and all that and perfect. Okay, so I can at

least cut this into the piece right. And then one day, as I was waiting for something else, I don't know that took time, I had some downtime and I thought, let me just monkey around with this, and I start choosing shots and putting together this scene to see what it would be like to have this assembled in its primitive form. I mean, this was pretty early in my

editing days too. I'm an eternal student in that regard, and I have a million miles to go to get anywhere near to like the Felchers and these guys that are out there. But I'm trying doing my best. But on this day I decided to cut the end for the last Castle. And then I sent it into my then executive at Paramount and I said, hey, here's what it would look like. But I'm going to choose a few bits and pieces. And he came back and he's like, no, no, no, hold on, let me send it to legal. What long

story long? Again, it gets cleared and it's on the disc. So the alternate ending that's on that disc, which I think is now up to four K, maybe by Keno or someone else has picked it up. It's lived on, it's continued to live on, which is so exciting. That edit is by me, and I had no right to be doing it, but what an amazing thing to cut

scene in a Robert Redford movie. I probably shouldn't have been and for them, but for them to support me in it, you know, for them to be like, yeah, you know what, this is cool instead of what have you done? Which is totally what I expected to get back. All goes back to the archive team. Though they could have easily just said because I don't think that stuff

wasn't on their inventory sheet. They could have easily just said nope, But they went and they found every bit of it and sent every bit of it to me. They could have just sent me clips, that's true. They could have done a million things, but instead they just gave me the whole thing and it was so awesome. So yeah, that's so cool.

Paramount DVDs back in the day. There was a uniformity to how they looked with some people appreciated that box on the back at the top special features, animated menus which we all love, but they were never famous for their special features. And for these guys to come in, this crew who I got the good fortune to work with and push for a Paramount Presents line, let alone,

Paramount scares right. And however, whatever degrees of success that has or will have, I mean, it's really a feat if you consider that it's with this historic studio who really hasn't paid a whole lot of love to their movies on home video. So I think Paramount Presents was an experiment that went very well in some cases, not very well in some others, like any catalog, but it

was a special moment for them. And if these Skuydance people are going to come in and I don't know what they're going to do or what their plan is, but I do know that it just this kind of stuff doesn't seem to be a real big focus right now. And if, just like I'm saying with bringing Out the Dead, for me personally, if the Paramount Presents line was the sort of sign off for in house curated releases with new content, they did a hell of a job on it.

just garbage day. And Lee dug up footage from when he was a little kid making movies in his backyard and it matched exactly to what he had told me in the interview and when I asked him about it. While I'm sitting there editing with my editor Mike Saunders from Prescribe Films at the time, and I'm like texting like, Lee,

does this stuff exist? And he's like, well, somewhere maybe, and then it starts showing up in my inbox and matches note for note for exactly how he was describing being a filmmaker in his backyard with his friends and family and he was little. And it just feels to

me like a way to sort of justify that. But also one that I know I've received criticism for it is big Trouble in Little China, because on that one, I had no I always say I had no breaks, right because I discovered that everyone who wasn't Kurt Russell was basically ignored on all the video releases historically. And then as I think you and I talked about this before, so forgive the repetition, but the chance to talk with Carter,

Wong and you name it. Man, all those guys are icons in their field, and they took the time to come in and talk, and I wanted to present those conversations in as full as possible because it's, like I think it still is the only time many of them have been interviewed for something like that, And I received a lot of flak from people for lack of cuts and whatever, but it's like no, I wanted. This is so much more in my mind for them and their story and Drew Strews and who we just lost same

thing where Drew is so sweet. I should have been more prepared here. He sent me after the interview with him. For that, he sent me a charcoal drawing of a of a panther and signed it Drew Strews in which I think he usually just signed strews in on stuff. And then he sent me this other thing. Damn, I should have brought it here. It's this quote from Thureau about if we could only look into each other's eyes one more time. I'm not going to paraphrase this and

ruin it, but it's like the sweetest thing. And so I have them hung wow like that side by side. Who does that? I haven't incredible? The only no one reaches out after interviews usually and says anything, but oh, Carter Wong sent me a framed a gold framed picture,

not real gold, like a gold color. I didn't it a picture of him in a temple with a thank you on it and it says good luck on it like that's that happened on the same project, on Big Trouble, And so I'll take all the shit I can get from people who are complaining about my lack of edits on that. My job was to tell these to get these people's stories out there, and I wanted it to

be as thorough as I could. And yeah, so I'm honored to have been part of any of that, let alone have when these guys say such nice things.

do you have someone in blank? And that's kind of something a lot of us in this side of the business do anyway, because there aren't that many of us out there playing this game. So for the most part, it seems like at least the people close to me, we're all very happy to share content and references and whatever.

But COVID helped level that field a little bit because it made it acceptable to have someone on a screen talking to you instead of having to be in the room, and so I'm very grateful for that. And the technology has evolved a lot since COVID too, Like zoom resolution is such trash and it maxes out at like seven twenty or maybe even for eight. I don't know, I'm

seven to twenty. I always it was such a miserable thing to have to struggle with during COVID, and then come services like riverside or I can get four K and whatever else. So you can also get some pretty solid remote stuff shot now too, with people in other countries or somewhere where I don't have a crew or can't find someone, And a lot of times people pop up at the last minute, Oh I'm available now, and

we can do that now. So back to my point, I mean, it's like it's varying degrees of means to be able to do it, and to me, it's all about gathering those stories. But true, I mean I would start rattling off names, but I don't want to make anyone feel like they're left out in doing that because

everybody is so vital to this effort. And so I mean, ultimately the company is it's me here in Iowa, yes, as you said, but it's not it's this family of impossibly awesome creative people that are around me and supporting me and my friends, Like I mentioned Lynn who doesn't work for my company. Linn Omiker, who I mentioned at the very beginning of this, but is always helping me with stuff layouts and graphic things. He's a computer guy who knows so much. I could just run down a list,

but I'm a part of it. But it's this family. It's a family.

the same fight, and it takes it. Anybody who claims this is a one person thing, I don't know how they would do that, first of all, but I have to just I've been the knee to reference Game of Thrones to the people around me in this thing and who have supported me through the years, and just so indebted to them.

Night of the Demons. I loved those movies so much, and so I would have I already had all the contacts, and when I heard that it was being released, I'm like, oh, okay, guys, and they're like, oh, it's already done. I'm like, oh, man, So that that was one I wish the Halloween box set. We're not talking twenty twenty. I did work on that four K set. I worked on Resurrection on that one, but I wish I could have done that whole box set. Yeah, there was a time when that was discussed, and that's

a great regret. But you brought up what was the one you brought up? When you were going through that list? You were like, and I was like, oh, man, I wish I could have worked on that. You just brought one up a little bit ago. I mean, it's always happening, man,

It's always happening. Because there's so many films that have only been available on Bear Bones releases where the stories have never been heard, and I'm like, oh, let's talk to the guy who taught the dog to do the basketball, shot, air bud or whatever.

missed our flights, missed, you could say. And it's it's heartbreaking because I really wanted to do a really robust tribute to him on that and someday I would love to do that in some form. But let's get back into that when I was working. Just the list is so long of titles that I wish I could go back and add more to or have been a part of. But I really love watching the work that all these other folks do too, because I get sick of what

I do and seeing. You know, I don't like to revisit the things that I've made after they're done, and so it's in a way it's better if someone else gets like Knight of the Demons, Yeah, because then I can watch it and enjoy it. Whereas I've always described this thing, I don't know if I said this last time we talked, but I've always felt that working in this realm, it's like entering a relationship over and over again that you know is doomed. Like imagine getting involved

with someone and knowing when it's going to end. Yeah, And so I get, Yes, I get the opportunity to work on these movies I love, and I'm going to spend so much time with them. I'm going to be pouring over frame by frame, trying to find the right cuts, the right moments, the right quotes. I will have seen it so many times that by the time it's done, I can't almost bear to look at it again, at

least for a while. And there are some movies that have countered that experience, but a lot of them it's still like it was such an intense window of time, such an intense relationship in such a short period that it's almost like I just need time away from it. And so it's kind of tragic in a way like that, where I'd like, Oh, I can't wait to work on I don't know whatever movie, and then knowing that in a matter of months it's going to be this breakup. It's kind of sad. So in a way, it's nice

when other people get hired for stuff I love. I guess is what I'm trying to say.

But I've always found the journey following that person down whatever side roads they want to lead the discussion to be the most interesting stuff. And the special features, whether they're commentaries or documentaries that I'm proudest of are the ones where we really got to see the person there, where we really got through that sort of media of guys or normal pocket questions or answers that they pull out.

There's been some really emotional moments, some really special moments with people, Like even back to the towards early on with Felyssa Rose at the end of the Sleepaway Camp documentary, because I'd love to ask people at the end, well, you know, after all of this, after all these years, and what does the movie mean to you now, and what's your relationship like with it? There's my rote question

that I ask everybody. But by that time, you've established something special, and so that moment really settles in a different way if you've had that kind of in depth conversation up until that point, and I've there have been some just really amazing moments just with the end of the discussion as a result of that. So I think

it's offering something new to the audience. I think it's offering the person being interviewed and experience for themselves, and I think it's showing respect to all involved to show up ready for whatever direction it's going to go. And I think I still think that Darkest Days is the greatest film documentary ever made about the making a Blade Runner. Charles has made an absolute masterpiece with that movie. And that's like my beacon is, Remember it can be this good.

You'll never be there, but it can be this good, So never stop reaching and trying new things and whatever. So anyway, that would be my answer to that.

even with my limited means. None of this was a plan, just like with the record you asked at the beginning, like there was no plan to make an album. I became a cessed with creating something and then it happened. And that's kind of how this whole road has been for me, has been just continuing to do and to try to do in a way that makes that serves the things we were just talking about in the last d answer.

it at all, and that's how it's happened. Though, So I don't know, bad answer, terrible answer for that great question.

to be a director. I've the same thing as probably many of the people in the chat tonight, Like I did like stupid, silly short films with friends and stuff like that in high school. But I've never thought I'm going to write a film and see a play in a festival or anything like that. And there are people in this industry that are doing stuff like this that have those goals that they are seeing this as, Oh, I'm building up skills to be able to do that.

Someday I will be releasing a film of these people that do it to meet celebrities. There are many of these people that do this to get rich, and you're in the wrong industry because it does not.

do something substantial. We have the means now in our pockets. Yeah, there's movies being shot on cameras that are affordable finally, So that's great. There's an economy to that. More kids in more backyard shooting, more stuff, bring it on. I'm happy for that, But I don't know how many people who get into this business aiming to make money really end up happy, not just because the business is famous for eating people alive, but also because if you can't

be satisfied with what you're doing, on your personal creative level. Yep, then I don't. There's not going to be joy here because there is no finish line, there's no arrival date. Even people who get the Star on the Walk of Fame or whatever that's paid for that's campaigned for, you buy those right. There are awards that mean something, but

it's just people who want to it. It goes back to what I was talking about with the column for remind magazine, where it's like, I have such deep reverence for these people who wanted to create some crazy theme park on the side of a mountain that's like a Wild West town that has a shootout six times a day and has a roller coaster off the side of a mountain in Maggie Valley, North Carolina, ghost town in

the sky. Anyone who has an idea and wants to create something to bring joy to others, ultimately they have to first be serving their own creative instincts in drive and I for me and from what I've seen over the years, it just seems like money doesn't really outside of the ability to create things when you have it. I don't talk to filmmakers about how much they make. It doesn't come up.

It came out I think a week ago and I'm down to already, so, and there's also CDs there, but if you buy either one of those from my site, the CD or the vinyl, then you also get a digital download of the whole album, and that comes with a bonus track that's not available anywhere else. That being said, it's also available, excuse me, on band camp, so you can get it there. But on my side, I have samples and things if you want to hear some of the songs and my crazy noise that I make with it.

Thank you for spotlighting that, man, I appreciate it. It's been a hustle to get this thing out there and it's really cool to chat with you about it well and everything else.

is what I've talked about before. And when Greg and Pearl had me on Land of the Creeps, I got straight up emotional about it because I was still dealing with this being a thing now because It's one thing to create something and be in the mania of its making. But then when it's done and it's all sent off to press and waxwork is working on it and the CDs are being pressed, and it's like this is out of your hands now. And then I had this moment of realizing, like, God, what have I done? Like why

did I do this? And I so yeah, I especially with this music thing. It's I'm getting a little better about it and my feelings about it, but it just it does feel extremely vulnerable for me. And even though there's it sounds crazy because there's no words in the music, it's instrumental stuff, but it really was. I think it's something I had to go through, and I didn't realize

that until two things happened. One was an email I got from Elias Marriage, who made Shadow the Vampire and Begotten, and he was telling me about his experience listening to the album, and it was the sweetest thing, but part of it completely flew over my head where he was seeing or hearing something that I now am amazed that he caught. And then when I was talking to Greg and Pearl and landed the Creeps and they were telling me what they heard in the music, and then I

just realized that this kind of needed to happen. Similar to Elias when he told me about making Begotten, he said, that's a film that had to move through him. It had to happen, and it was a process. He didn't know how to turn off at the end because he was He didn't know how or why or when to say enough is enough. And a friend had to intervene and get him, like pry his hands away from editing on the thing, like it just has to be done at some point, got to give it to the world.

to make that. And so I don't know that I'll ever be comfortable with the guitar in my hands instead of drumsticks, but I sure as hell do love making some noise with this, and I'm excited to continue doing it. Well.

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of my all time favorite movies are Westerns. We'll mostly focus on Western movies made in Hollywood, but will also be covering spaghetti westerns and one thing I'm very excited to get into our Western TV shows. We've got some amazing guests coming on the show, film professors, historians, and podcasters and Tumbleweeds and TV Cowboys is part of the Someone's Favorite Productions podcast network and many guests on the show will be from other shows on the network.