Oh she is bot It's showtime.
People say good money to see this movie.
When they go out to a theater, they want cold sodas, pop popcorn, and no monsters in the protection booth.
Everyone pretend podcasting isn't boring.
Got it off.
Thank you for a great to make this documentary.
NAT's rucker rhymes with trucker.
That's my wife, Darlene. She's a real looker, ain't she.
What is your contribution to society? As truckers?
A contribution to society?
Twenty eight years of my life.
I've been working on this poetry.
It's lonely up there on the road. You gotta love where you can.
I love Darling. I'm not saying you don't love your wife.
Yeah, it's hard to being on the road alone.
It looks a lot lacker, but Darling's much pretty.
Let it go out.
Your wife not doing it for you anymore?
Do you want to show you how I do it?
Do you think you're like your masterpiece?
When you're master piece?
I like the ring of that.
Pay attention.
You're not taking advantage of her, are you sure?
Rucker Trucker, Welcome to the projection booth. I'm your host Mike woye Joni once again, is mister Chris Dashu. I'm here love when you give those very pithy answers.
Chris, you're well.
Also back in the booth is Father Malone.
We got a big old convoy rolling through the night. Convoy of one nice.
October continues with a Patreon request from John Redford. It is a discussion of the twenty twenty two horror film A Rucker That's r u c k e R. It's all about Darius Rucker, the lead singer of Hoodie and the Flowfish.
Wish it was man. He only wants to be with you God. That was the other title for.
The movie, and they didn't go with that could have been Actually. The film follows Leaf Rucker, a seemingly ordinary long haul trucker who has been serially killing women resembling his ex wife life for thirty years. The narrative takes a turn when Maggie, a young filmmaker making a documentary about truckers, becomes privy to Rutger's deadly secret and chooses to document his crimes. We will be spoiling the film as we go along, so if you don't want anything ruined,
please turn off the podcast and track down Rucker. We will still be here now. I imagine this was a first time watch for all of us. So, FATHERM alone, what were your initial impressions of.
Rucker, Sir, I did not like this movie, which isn't to say that it isn't competently made and acted. Actually, the lead guy is really good, so I enjoyed a lot of the performances. Like I said, I think it's really well shot. I love the animation sequences, the sequences that sort of detail letters from his daughter while he was out on the road, detailing her life. I thought that was all beautiful. But I think the script is boring.
It is the film is glacially paid and episodic, and we spend too much time at karaoke.
You mean, not enough time at karaoke.
I was just about to reverse myself and then to say that maybe we needed more karaoke. I don't know. It's just the problem with this movie is the script. It feels thirty years too late and has nothing new to say about serial killing or serial killers or ultimately what these characters have.
I don't know.
The pathology all works out a little bit, but anyway, I didn't like the movie, Mike.
All right, that's fair, Chris, how about yourself?
Well, what was interesting is I was looking for inspired by a writing credit for John McNaughton at some point in all of this, and then I realized, to father Malone's point that for me, as someone who spent four and a half years listening to watching things about serial killers and throwing myself into it with scary stories, we tell this is the kind of stuff that I would
be into. It also has some appeal because it's a little bit of a I don't think indie movie, whatever the fuck that means anymore indie enough, and I think it has some appeal.
And again, yeah, the idea is novel, but.
It also feels Liz is twenty twenty four, Give me a fucking break, Like, I don't know, you should have at least set the movie in the nineties, but this is such a nineties idea. It feels so not of the time that the movie is taking place. This is meant to take place now, or at least in twenty twenty two, I'm assuming, and it needed to take place in the mid nineties for it to feel believable. To
go back to the John McNaughton of it all. I have a hard time doing anything other than looking at this and going, you really like ten Reportrait of a serial Killer?
Huh?
And that's not a bad thing. Look, imitation is the sincerest form of flattery. But Michael Rooker, this guy is not. This script is not as well written as the Henry Portrait of a.
Serial Killer script.
And to Father Malone's other point, and this, I think, for me is the biggest sin of the movie is it is so poorly pied. It is just beyond strangely paced. The episodic nature of the movie could have worked in its favor, and instead of working in its favor, it feels like by it being episodic in those episodic things really not having a whole lot interesting within them, it kind of highlights even more for me how slow the movie is.
I wouldn't say I liked it or it is like that. I can understand it. This movie is four.
I just don't think it's per se for me, because there are other movies like this one that I've seen that do a better job. So That's where I'm coming at it from initially. And yes, this was a first time watch.
So why the mid nineties. Why do you think this would have worked better have it either been set or came out in the nineties, And which do you think would have been better?
As it is now thirty years later in the fucking g loot of serial killer entertainment that continues to this day, just in proliferation in every direction. It's if you're coming at us with a new serial killer feature, it has to have an innovation, and this has no inna.
It is approaching the most basic of basic stories in terms of convoy or highway serial killers. Right, this is just a guy going around killing women. For some we know his purpose, but in the reality of a world we wouldn't know his purpose. But because it's a movie, we understand what his purpose is. But it's like the
most basic of serial killer stories. Especially when we're talking about if we were to sit here for five minutes and brainstorm a serial killer trucker, this guy is like the most basic common denominator.
Creepy, older white guy, balding.
On top, where's a trucker hat, where's plaid, has a knife on his side. It's very stereotypical, which is not a bad thing. I just don't think to Father Malone's point, at this point, you can get away with resting your laurels on just the most obvious of choices. It feels like a lot of obvious choices are being made, and you can make obvious choices.
It's like going to a restaurant that makes one thing.
If they make one thing and they do it really well, nobody fucking cares that they only have one thing on the menu. But if you're not doing it to the best of your ability, it is pretty obvious that you're not swinging with the most power. And I think, yeah, I just it's not they're not initially on the face of it, they're not doing enough with the premise, just on the face of it.
What about you, Mike, what did you use it?
I think I liked it a lot more than you guys did. Yeah, there's way too much karaoke, and especially very poorly sung karaoke. And I understand that with Taco Tuesday, that's supposed to be a joke because apparently that guy's the lead singer and slip knot.
There is Corey Taylor slipping on.
You could hold a gun against my head and tell me to name one slipknot song, and I would get a bullet between my eyes because I have no idea. They're the guys that wear masks, right yep.
In his case in this movie, he wears a fucking hilariously bad wig.
And I didn't mind that, and I didn't mind his whole embarrassment over throwing a fit about wanting tacos when it wasn't Taco Tuesday. So it reminds me when it comes to the other truckers in some of those scenes, it reminds me a little bit of taxi driver, especially the whole thing like one person's two persons, three persons. Harry northup talking about the bathtub that allegedly belonged to one of my Errol Flynn, Right, what's Aerol Finny? I
think was Aerol Flynn? That I thought was okay. I like how the Taco Tuesdays learning how to knit and that our main guy Rucker is a big knitter and just always working with stuff. And I like the revelations of the different information as far as we are starting this movie as a documentary, but then eventually we see the filmmaker and then we see him killing people, and then she sees him killing people, and then it's this whole Oh, not only is she not going to run away in terror, but she's into.
It and she's his daughter, right, she's got.
To be his daughter. I don't know if they pretty much say that, even though I think some of those reviews that I was reading there was like, oh, she might be his daughter. I'm like, her fucking handle is daddy's girl. And all of these memories are basically, oh, Daddy, you left and you were driving a truck and here I am. I'm like, if this isn't your father, I would.
Be very surprised when he kills himself spoilers. She says, daddy, no, So that's obviously that's her father. I don't know why they as soon as she was cool with the killing, and as soon as we started getting letters from home, it was really obvious that's her.
Guess.
I was more implying, is there incest in this moviie?
Then I don't think so, it's I don't know, maybe not. They wake up the next day and they're in bed together.
Yeah, it's implied the way a lot of the other stuff and this movie's implied.
Yeah, But for a movie that has multiple throat slashings. It's not real big on subtlety, so I think they would have been more explicit had they done that. But I did want to say one thing, which is, as much as this movie reminded me of Henry, Portrait of a Serial Killer also reminded me of that Belgian film Man Bites Dog from the mid nineties. See that's exactly it.
And that film is a faux documentary where they're following a serial killer and they eventually documentary through eventually starts participating in the murders. And it was horrifying and I found it nearly impossible to get through, and I thought it was an achievement as far as a portrait of
serial killing and an indictment of sort of media. So that only speaks again to that sort of thirty year gap, the novelty of it after those two movies thirty years ago, I didn't know what I was supposed to draw from this movie. But I will say those animated sequences, they were very effective. Something about a lonely child makes me want to crawl under a rock.
It's so affecting.
And don't know if that was them or me, but they certainly brought it out of me. So I want to give them kudos for those sequences because they really those hit home.
I totally agree about Man Bites Dog and it just that movie gives me the hebgb's, and kind of Reporter of a serial Killer definitely gives me hebgb's as well, because of just the randomness of the violence sometimes, like the whole thing of them pretending that their car was broken down so they could murder somebody that comes to help them, Like, oh, that is so terrifying to me that you would try to help somebody out and they just started there to murder you. And there were several
other things in that movie. I mean, do I laugh when he talks about being dressed up in little girl clothes and stuff? Yes? I laugh every single time in Henry Porter of a serial Killer when that comes up. But otherwise it's a really fucking creepy film. And I didn't really feel that creeped out by this one. The level of criminality feels very like an episode of Criminal Minds or sv You or something.
I just never felt anything visceral as far as the murder's going on. I'm as much as a horror round as I am if you can create an effect where it looks like real blood from a real wound, it will skeeze me out to the point where I look away at this point in my life. So I didn't get like even in a scintilla of that here. It was just like wrote and that was the point that they're so desensitized, so we should be so desensitized. Then I think we just needed to relate more to the
characters or something. I'm just looking for some emotional theft from the movie, and I'm not getting it from the violence. So I wanted to get it from the characters because we're supposed to relate to them more, and I just couldn't relate to him because he's such a fucking weirdo. And then she basically says nothing.
That for me the framing device of the movie having it started as a documentary. And then yes, she yeah, she takes part in it towards the end, again reluctantly, at least in the one thing that we see, the one murder that we see her doing, other than the kind of when we see at the end of the movie. But I didn't feel like there was enough. And this is gonna sound weird, but and again, I think it goes to the visceral nature of what you're talking.
About Father Malone.
Like when I watch Henry Portrait of a Serial Killer or even Texas Chainsaw Massacred want to take a shower after him done. There's a grit and a grime to the movie. The movie makes me feel gross, and there's none of that here. And look, I understand that some of his oh he's a very neat killer and oh he like everything in a specific place, and I get it.
I get that they were going for that. And also in at Mike, I don't know if you've ever watched Dexter, I know Father Malone you have, but like in a like Dexter of it all, there's a little bit of Dexter here with this as well, where it's like he's a very neat killer and he has he like he has to stick to the plan and he has to oh, he can't use this knife on this person, only this that there's like these arbitrary rules that he follows.
In having a character with arbitrary rules.
That he's following, it does not hit as hard because there is the lack of randomness, isn't there, Like you mentioned Mike with Henry Portrait of a serial Killer. Yeah, the most terrifying serial killer stories are, Oh, this family was stopped at a gas station.
These two dudes.
Followed them home and killed all of them in their house. Yeah, that's pretty horrifying. Like you drew the shittiest card on the shittiest day of your life and it fucking really did not pay off for you. And when you have a serial killer who we effectively understand is not going to just go murder anybody and everybody, it just sucks the stakes out of the movie. I'm not saying, oh, it's just women that he's murdering, but like, in this movie's kind of twisted and warped sense, it is just
women that he's murdering. That's the way the movie kind of wants us to internalize it. And I wanted more of what makes movies like Chainsaw, Massacre and Henry's such visceral experiences, which is, like you said, Mike, the randomness of it all being a factor, not this, Oh he's so meticulous, I don't care. We've seen this a million times before too. Now, better things in better ways. And
maybe if it had been like Texas Chainsaw Massacre. We would have been like, this is so similar to other things. But there aren't enough things like those things out there. There should be more kind of things that give you the big ick when you watch it. And that's hard in this day and age to do that. It really is, especially in twenty twenty four, when any asshole can go pick up a camera and put it through some post
pro effects to make shit looks scuzzy and gross. Anybody can do that now, but when you actually do it, it can make an impact. This is a movie that was made that was released that as real people in it. It needs a little layer of something, some nastiness. They'll make it look so nice, looks too well shot.
Come on, it is very clean, and the whole dexterness of it all. I hadn't even thought about that, Chris. The fact that we got nine season of Dexter and then a reboot and now a new series is on the way.
Just once again.
I know I'm echoing my own self here about the overload of serial killers we've had in the last quarter century, but it certainly feels that way, and I don't see the point of the movie in that regard. Think about that visceral kind of thing that you're talking about, Chris, like the ick factor, Like, if they're going to not do the ick factor, then could they maybe have transferred some of the sadness of the lonely child onto the
character we're seeing. Maybe Perr and her father could have had a conversation about that that if I'm just going to follow them and I'm not gonna I'm gonna ignore violence whatsoever, give me some sort of emotional violence going on between them.
When you brought up the nineties, Chris, I was wondering if you were talking about that what I consider golden age of serial killer films, where it was Natural Born Killers and seven and Silia which one Silence of the Lambs, Silence and Lambs. Yeah, Millennium with Frank Black, not the singer, but the other person Aliance Hendrickson. Yeah, that was a time where it was almost like zombie films in the early two thousands, where we were just getting a new
serial killer movie, you felt like all the time. And then there were also like, Hey, let's do the Dahmer film, and let's do the John Wayne Gacy film, and just all of these things that we're coming out to like straight to video where it's like, all right, yeah, more of this stuff. That was even back when was it Jeremy Renner being.
Yeah, maybe Alex Cross movie yea, and yeah you Kiss the Girls or.
Copy cat Yeah, hey, I'll tell you one that's close to this as well. And this was earlier though, was the Hitcher, the Rudger Hower film apples and arnor to the.
Extreme, look the idea of what would happen if we had a camera crew with a serial killer? Even that idea this point, I feel like behind the mask the Leslie Vernon story has come out already that for me is a pretty high barred across. That's a pretty good one in terms of this kind of thing. And I guess the other thing and again to go back to the framing device of it all, because this is something I don't understand and I'm trying to figure out maybe
if y'all have a better sense of this. Why is he having the women that he's going to kill in these interview portions before? I didn't understand what is that getting out? Did he know these women ahead of time? Has even dating these women? I didn't understand that because some of the women seem to know him, and some of the women don't.
Yeah, they seem to be mainly from truck stops, which, as a serial killer, is a fucking insane thing to be doing.
Yeah, Oh, let's murder the people where we go all the time.
I think the rest of the trucker nation would figure your shit out almost immediately.
Yeah, with your it'sious portrait. Yeah, when he goes into the one truck stop breastroom and there's all the missing posters, it's okay, I'm guessing we're supposed to feel very chilled, But it's more what are you doing? Why are you taking all these people? And why are they if you're taking them from anonymous locations, they wouldn't necessarily all be here at the truck stop.
You don't shit where you eat. No, no, No.
That's the whole thing with serial killers.
Rights Like, he's a white male, he only kills within his like genetic group. He's only killing white people. Yeah, and he's only killing him at truck stops too. Who could this guy be a white mid fifties trucker.
Oh No, I would have liked one scene at a Polluvivi station where a character is drawing on the map and he've drawn us the portrait. He goes, hey, sorry, so look at this. He goes get the get at it and rips it up.
I do like that.
We get again, like to traffic in some things that feel very like eighties and nineties, like the satanic panic of it. All right, if you look at the way these murders make it, it could.
Triangle on the thing. It's anotherwise it's a pentagram. Oh my god.
I will say this is the first time in a while I've seen a movie do that thing where it's like, oh, we're going to make a portrait with all of the kills. And that is the one kind of takeaway here that I was like, oh, okay, that's cute again, like when you look at what it is, though it is over the state of Washington, which definitely doesn't have mountains or anything.
The state of Washington is a huge place, but.
Hey, Washington and has tons of mountains. If I don't know if you're being serious or that.
No I am, But it's like it's funny because there are places where I don't think you could go there.
Yeah I don't.
I think you're right, but not Yeah, they're like you're like on top of a mountain.
Here is my point. It's a little hokey and again meth forest.
And I know they shot this movie in like Bremerton and Oregon, which I spent a ton of time in the Pacific Northwest, so I actually recognized quite a few of the locations here. But yeah, like Washington State is the unofficial serial killer capital of America, those forests are filled with bodies. But yeah, topographically, geographically speaking, I don't think you could reach some of those places. Those mountains
are fucking enormous. That whole pass you gotta drive through any way to Spokane, no waste, no quality and all that.
No fucking yeah, no function way.
Yeah.
Oh that's what I was like looking at it. It was like, this is Washington State. You're not going to this is some of these fucking areas. Give me a break. But I again, I will say though, ultimately, if you have this kind of premise and this kind of movie, you do need an actor to carry the movie. And to Father Malone's point, the main actor is pretty good.
I think if you're having someone who hasn't isn't imminently recognizable to everybody, even us who's been in he's been in stuff, but he's not jumping out in any one of us. I think immediately, I think that kind of works in the movie's favor. Give him a little bit of anonymity, because he does it again, it's oh, this is a Ted Bundy effect, right, like, oh, he's such a good looking guy.
Now you just need a dude.
And Bobby C. King is just a dude. And when he puts a hat on, he looks more like just a dude. I thought he was great even today.
I saw the cast list for the next season of Black Mirror, and I was like, these are all well known named celebrities, So unless we're playing with their public persona, why are you casting really well known people inside of this story should be more. I can't say he's anonymous, like you said. He has been in a bunch of stuff. Same thing with the main female character, but I don't know them by sight, and I thought that they both really turn into good performance.
Yeah, there is a power to the anonymity of somebody like to detegrate anything they've done before. But this is certainly the first time I've seen any of them, and I was knocked out by his performance as bored as I was through stretches of this movie. It was never because of him. I found him to be fascinating. I thought he brought more.
To the role than.
Those little all those little moments of the fastidiousness. Sometimes you can see it click in his head where he's going a little bit off. I really love when you can see an actor do that.
No, I completely agree, he's he is the him and the other actress, the one that plays his daughter. They're the best parts of the movie one hundred percent, and the back and forth between them. I wish that there was more. I understand why there's not, because half of the movie it has to get to the point where we realize what's going on.
But the two of them are fantastic. That's that's the thing. It's in a lot of ways.
I think where I'm coming at this movie from is actually not that I wanted to like this movie, but I was really intrigued by the idea of this movie.
It's just it didn't.
Again, it's not doing enough with these performances to really give any other movie that's done something similar a reason to not just watch those And that's the thing. This is gonna This is for a very specific group of people now this kind of movie, and like those people are watching these other things already.
And that's the thing.
It's unfortunate because the performances are so good. He really is great. He isn't pretty understated again, like it's not. It's about as understated as Michael Rooker is. Frankly, it's probably even more understated than Michael Rooker. Michael Rooker goes off and Henry Portrait of a serial killer more than he.
Ever really gets to.
But that's okay, Like it's again, you get the sense that there is more going on, we just don't get to see it. We're forty eight people in who were one receive five or six people killed as a book of forty eight or whatever the numbers at eventually towards at the beginning of the movies.
Yeah, and he's been doing this, what'd they say, thirty years or something. But yeah, I like this as an examination of trauma and the familial trauma, and especially like you were saying, find them alone. The whole idea of the kid, the lonely kid and who doesn't understand anything. The first letter that he reads, she loses a tooth and she thinks she's going to bleed to death or lose them all immediately, and has nobody there to explain stuff to her, and just feels like she's completely alone
in the world. And then her mom's no help whatsoever. And then we see the little girl in the story part, in the animated part, murdering her mother, and then we get that again later when we see her actually smother her mother.
Just your description of it right then, Mike was fucking breaking my heart.
Honestly. Yeah, all of those little flashbacks that we have just really do it for me. And I didn't think it was going to work at first when I was like, oh, we're doing animation now, and it's really crude and computer animated, but every single sequence works and it just gives us a little bit more story as we go along. I like these little flashbacks that we get throughout here. I
mentioned Taco Tuesday with his flashback. But then we get the redheaded woman that we see at the beginning of the film, and there's a moment in here around probably about half an hour in where it might be her, the redheaded woman, trying to denegrate him and then him murdering her. And then also that's right after some animated stuff, so I'm like, oh, okay, that's interesting. That's probably the only real effective murder for me is where he actually gets mad at her. Be the animation.
I just want to say once again it's probably my favorite part of the movie. But in particular, I have a real big pet peeve, and of course I lived with an artist for many years and this was her pet peeve as well. When you have a child's drawing in a movie and it's clearly an adult drawing and a child style, you can always tell here looked like a kid drew it, So big props to whoever did the animation.
What.
I also really like the child actor that they had to do the voice in those segments, because that's also, I mean, look as effective as the animation style, as the child actress to carry most of the emotion, because again it is animated, and I think that they got it because it could have come off as pretty maudlin. And I think it strikes the right tone between being sad but also not being like again, saccharin or like again, because like, we get it, like it's sad enough as
it is, we don't have to like. And then my dog died and then my Mom died is like, you don't need to hammer it home, and the movie doesn't. It's a little restrained, thankfully. Yeah, those segments caught me off guard as well. It's weird to watch a movie kind of change mediums and it's just a complete out like Left Turn. So it's I appreciate it. There aren't a lot of directors doing that. It's an interesting choice. It's a bold choice, let's put it that way.
And I can't remember when Dinner for Schmucks came out, but that might have beaten them to the punch with all of the mice stuffed and dressed up and clothes that are on his truck dashboard there too.
Now this was post that.
Okay, so they took from Dinner for Schmucks.
And okay, yeah that was I'm glad you pointed that out.
Might be Yeah, I'm like every other piece of entertainment since Dinner for Schmucks.
Get it to that film. Let's face it exactly. It's a Dinner for Schmucks world. We just live in it.
Steve Carell and Paul Rudd, everybody there are true gods. Is like there are wild stallions, sees pray at the feet of Dinner for Schmucks Afi cinema classic, damn straight. I will say it actually for me, as you guys have already talked about Taco Tuesday, I will say, it's very distracting to have Corey Taylor in your movie.
I'm sorry.
Like, for me, it was I know that's the thing, I get it, But for me, it was distracting because I'm like, oh, it's Corey Taylor, lead singer from Slipknot, and I guarantee you they're gonna have him singing poorly at some point in the movie, and then they did.
I don't know.
For me, it took me out of the movie because it's clearly Corey Taylor in a wig and they have him in a scene where it's like, again, real truckers are not those other truckers are more believable truckers than Corey Taylor is. And he looks so silly if you know what he looks like for real, then is always wearing a fucking wig. And I know that those people in that scene are actors, they're not real truckers, but they seem more like truckers than he does. And for
someone who knows who he was, it's the man. This is a little distracting. As good of a performance as he gives, it is distracting. And he being in that karaoke scene. Every time they come back to him, I'm like Corey Taylor in a bar doing karaoke.
It's a little on the nows.
Okay.
I liked his performance, and I was not distracted so much. When he first came on screen. I was like, oh fuck, that's Corey Taylor, and then I just got into it. But I can see what you're saying. If David Bowie had suddenly wandered onto screen, and I'd be like, what the fuck David?
Everybody, what do you do? And then they're gonna make him sing too, and he's gonna sing poorly.
Of course, Funny Little Man, Early Little Fat Man.
The only thing that would have been better is that they would have had Corey Taylor singing slip, not poorly. Then it would have been like, oh, okay, then it's really.
On the nose.
Yeah.
The Seasons in the Sun goes on for way too long, and it is just so off key that it really hurts to watch that part of it.
About that, I'm sorry this movie echoed so many previous forms of entertainment, but Millennium. The TV series Millennium had a series where a serial killer, a doctor Kravorkian time would send everyone off to their death while singing Seasons of the Sun to them.
Really, yeah, wow, I probably should go back and try to watch that because I've never watched that one. I just remember the Frank Black episodes of X Files nex Files. Yeah.
Yeah, I'm actually due for a rewatch myself.
The Milaium.
That's a one season show, know it is it?
No, it's a three season show, but you really only need the first two and really only need the second one.
Good to know there's always spare time in somebody's back pocket. I'm sure for a Millennium me, not you, not Mike, but somebody, somebody. I didn't volunteer any one of us for that shit. Someone else can do that for once. We can just listen to there you go.
Oh the croshetying. I just wanted to say, Mike, because you mentioned it earlier, the Creuschang. Nice touch.
Yeah, that was a good portion of screenplay.
That's a nice bit of observed behavior, because yes, people out on the road need fucking shit to distract them.
That rung true for me. But I also liked that he's an artist. He's creating his art through both the killings as well as the crochet. And I was surprised when Taco Tuesdays, Oh yeah, I'm learning from the master, and I'd like that it gives them a little wink at that point, I'm learning from the master. You better watch out. And I was like, oh, man, he's going to murder this guy because he's getting too good at knittings.
I was hoping he'd be that kind of serial killer, really, the cruicheting killer that hook.
Oh there you go to the eye and then he uses the N trail.
Yeah, n one.
He's knitting a huge quilt made out of intestines.
Oh my god, what do you see?
Will I go watch that movie.
I would just imagine that from Hannibal. That's just from that NBC Handibal.
What do you see?
Right?
Yeah?
Yeah, that's what they would have done these Yeah. Can we say though, and this is something that I will say. I don't know if I stand alone in this, but the title of the.
Movie, oof, whoa Wolf? Indeed, what a terrible fucking title.
I'm sorry.
Maybe if it had been the hant thing with the T and the parentheses Trucker rucker Maybe.
I don't know. When I saw the.
Trailer for this movie, it was called Rucker of the Trucker. But is it called rucker? Is it just Rocker of the Truck?
I don't know.
I think it's the way. Yeah.
Yeah, the title for the movies, it's off Pudding.
I like that they had to try to incorporate it into the movie, but it's just not a great title. Unfortunlley doesn't get the point of the movie across, that's for sure.
Henry ordered The Serial Killer. I wonder what that's about.
Every time I see the poster for it. It doesn't necessarily look like Bobby King to me. I always think that it's like Tyler the bean with the knife and the thing. I don't know, he just looks like what Tucker from. Maybe that's what I'm getting Daleen Tucker versus Evil.
Maybe he looks like a little older Sean Patrick Flannery.
I could see that.
Yeah, Bobby C. King looks like Sean Patrick Flannery too.
In the right light.
Oh right, he can play his dad real easily.
Yeah. Or what's that other actor, the one from Tokyo Drift.
Oh, oh that rube. Oh yeah, the Rube.
I forget what that actor's name is. He like the young child in X Files, Bite the Future. They have very similar facial features. But yeah, that the poster with him with the knife like the on there. I don't understand they have the thing in the hat in the movie. It's like obvious choice.
Does that take it?
I wouldn't think so.
All that's left was rucker. Evidently, I guess so.
I didn't realize that the guy that played the rube was also the young kid in sling Plate. Speaking of serial killer films from the nineties, right, yeah, the rube looking at me? What you look like with you? Good bag? And yeah, everywhere we look.
That actor's name, by the way, is Lucas Black, who definitely whisposed to play a teenager in Tokyo Drift but definitely wasn't an adult.
Yeah, but yeah, he looks like Bobby C. King and also Sean.
Patrick Flanner future didn't he he did?
He turned into an alien.
He fought it. Yeah, all right, we're gonna take a break and play an interview with the director of Rutger Amy Hesketh. Right after these brief mestiges.
You obviously love podcasts, but are you also a fan of movies and into television. Do you want to listen to a show that reviews entertainment honestly and cast pretentiousness to the wind, that debates both film and TV topics in a fun, good spirited way while still getting to the heart of why we all love them so much. Then don't miss the award winning weekly podcast, The Hollywood Outsider, now available on your favorite podcast app or at the Hollywood Outsider dot com.
Tell me a little bit about your story and how you got into filmmaking.
I got into film originally. I was when I was living in France. My marginally got into film. And then I was working as a PA when I was in Boston, briefly running film down to Douart in New York.
That was a job.
It was awesome and Duart was so nice to pas who did this kind of thing, and they would let you sleep on the sofas and give you food and say, oh, hey, there's this famous directors like looking at dailies. You want to go sneak into the back of the screening room and take a look at it. It was just a very wonderful kind of introduction to film. And then I moved to Bolivia in two thousand and five and I lived there for ten years. I made a large body
of work there, both as a director and producer. I acted in a lot of films and it was my first film. Ten years later, the government gave me an award for starting the Bolivian New Wave, particularly with my film Sir Whin Yaku, because it was just a breakthrough indie film that pioneered. It kind of enabled other young filmmakers at the time to really think that, oh, I can make films, I can make genre films, I can
make the film that I want to make. I don't have to make the idiosyncratic Bolivian film that was privileged at that time. And it ran in theaters for six months I think, and it was really popular, very polemic. I got a lot of really amazing press and really scathing press when it was like really always those it was either a five or zero, it's never anything in between.
It was like rough was my first film, and then I went on to make a bunch of other films, and in two thousand and sixteen I moved back to the States, and I had met my now spouse, Aaron Drayne, at a film festival in Mexico City where we each
had a film. I had my film Olalia there. It's called Ferretum in Telbahaua, Mexico, is a wonderful festival, and he had fear clinic there and we met and fell in love and had to figure it out because I was living in Bolivia and he was living in Los Angeles, and I didn't really like Los Angeles, and so we figured it out. At the same time, we're contacted by the college up here, Olympic College, and Tim Hagan said, Hey, do you want to start before your program here in film?
And we did.
We went for it and moved to Bremerton and Atport Townsend and created a film school and it's the lowest costing film school in the nation and we're really happy to be serving students through that now and I'm the coordinator of the program at present. That's been a crazy ride.
Why Bolivia.
Oh So I went there to visit a friend who was working down there and doing like worked for a not for profit down there, and I liked it. I saw a flyer in this Cassee and it was a casting flyer asking for pas things like that for a
Docky drama called Outbreak for National Geographic. I called him up and met my producing partner there, Jack Avila, and I was cast and did this Docky drama, and then I went to a film festival where his film Martyr or the Death of Santaleli was playing in a rurrow and met a bunch of people who really wanted to make solms, but we're not really able at that time.
And Jack had been living in New York for a really long time but was Bolivian, and so I said, hey, like, why don't we just partner up and we make tons of films and we teach other people how to make films and make it possible for all these people who want to make films like to do it, and so we did it.
How is it balancing the teaching work with the filmmaking work, with the program that you do.
I think that teaching really fills the well.
For me.
I made films exclusively for a long time, and it's wonderful, but you get into a little bit of like a bubble and fall into I think what some people might call o tour theory, but I tend to think that it's almost like you're pandering to yourself at a certain point when you're just doing that and you're not really getting all this outside feedback or expanding your horizons or learning new things. And I think the best way to learn more is to teach. And I started teaching, and
it really for me fills the well creatively. I love the conversation.
So we have a love love.
Love it when my students start getting that bug for filmmaking and they really understand that they can actually tell their own stories and make these films together and form this kind of really amazing community together, and I don't know, it makes me feel really good. And then when I make films, I often hire and now my own students, which we did with Rucker. We had a lot of students working with us on that film. So that's when you teach. You technically speaking, have summers off it's emails
and they do the thing. So we often make films in the summer. We just wraps on one called a short film that we made in conjunction with the Portowndan Film Festival called Glampire.
That's a great title. What's it about?
Oh, it's about a social media influencer who hunts down an ancient vampire and gives them a brand makeover.
That sounds fantastic. Tell me how did Rucker come up? How did the story idea even come to you?
Oh?
So it was originally my spouse's idea. There was a snowstorm in Bremerton. We were living there at the time, and snow doesn't really happen very often up here in the PMW, but when it does, it paralyzes everything because I think there's one snowplow for the county, and so they're like, yeah, you're on the list to get flowed eventually, just hang tight for a week or two movements.
Wow.
Yeah, And we're snowed in and we had walked down to this local pizza place.
It was open.
Didn't go have dinner slogging through the snow or gear. And he was like, I had this like idea, It came to me in a stream, and I've been thinking about it. Can I pitch it to you? And I was like, yeah, sure, man, full of beer and pizza and I'm like, this is a great time to pitch. And so we started having this conversation and formed the idea of it, and it spoke to me really deeply
because of the themes of generational trauma. It's just really big for me and a lot of my films deal with that, and so I figured, Okay, this is my thing. I would love to direct this, and so we co wrote the screenplay and then jumped right in and made the film.
That's fantastic. When was this? Was this twenty twenty one going into twenty twenty two.
No, it took a little while to come out, okay, Yeah, and so I think it was twenty eighteen or nineteen something like that. Yeah, And so it was in post for a while, and then we didn't release it for a little bit, just because it was not the right time and people weren't really doing much, so we waited a little bit for that.
Yeah.
I love the way that the story changes throughout, but especially that it starts off almost man bytes dog type of first person interviewing Leaf Rocker and just his whole story, and then the moment when it changes you don't really expect it. So I really mend you on the storytelling ways that you go about it.
Oh, thank you. Yeah, it took a lot of work to try to get an understanding of Okay, I don't want to show the protagonist for a while. I want us to think that this is more of some kind of weird documentary and then to show no, like we're entering into the story now. Most of my films are
like that. They're very meta, and I have these kind of concentric circles of stories and I like to reveal one at a time, and then maybe we go back to one and then those stories together until you have this holistic picture because you can't tell wait, is that an interview too? It's like what camera are we looking through right now?
Where did the idea? When the animation come from? And who did the animation?
Oh?
Yeah, and so Dorian Clevenger did the animation. He's out of Pennsylvania. And I love working with Dorian. He always like really gets it, and he really understood the generational trauma theme in this. He totally dug it and some of his own animation work speaks to that. And so it was just a wonderful fit. And so I started sketching these parts of I wanted to have flashbacks, but
I didn't want to shoot them. And because I figured, if this is we have like essentially three cameras almost like maybe two, but like one of them is in the past with the mother, and what camera would that be?
It doesn't fit.
And so I figured, okay, what about these childhood drawings. What if we could bring these childhood drawings to lights and show this backstory for Maggie through animation, but we could also see her, see the style change, and see her growing up because she becomes essentially a better artist.
Tell me about your casting process, because your leads are fantastic.
Shyanna is a graduate of our program, and she has this sense of internalized turmoil that she's really good with and I liked working with her. I thought that she could do that very well. And Bobby King worked with Aaron on his film Fear Clinic, and when we were casting, Aaron said, listen, you got to talk to Bobby because I really think he would be perfect for this. Andy knows how to drive a truck and granted it had been a while, so there was some gear grinding.
But yeah.
I talked to him on the phone and we talked about that and he really got the themes of generational trauma and he was like, oh, I can completely understand this and some interviews that we shot during and after we wrapped, he revealed that he had an estrange daughter who he had met pretty recently and he had never known about Wow, and so he was trying to create this relationship with her, and so it was at perfect subtext.
I really like that my actors when they're working out very deep kinds of issues, because I feel like it makes for a stronger film and it makes their nice experience for everybody to really get into something very weird and strange that doesn't happen in real life, Like we don't often get this almost theater to explode our feelings and shape them into something else and then give it
away to other people. And so that was really lovely to do with the two of them, and Bobby later also in an interview, said that it was like working with a psychologist working with me, and I was like, I think that's a compliment.
In the truck, where'd you get the truck run? Do you have to rent that?
Or yeah?
We did, and it was like partially sponsored by a local company who had a moving trucks, and so it wasn't that traditional container like there is removing furniture and things like that. And so I had these really nice floors and everything, and a little bit of this stage at the back, which I thought was like perfect for if you're gonna murder, you murder on a little platform state.
Right, I'm saying, how is it working with your husband as your screenwriter, to have two filmmakers coming together? That could be potentially a little bit of a challenge.
This was not our first screenplay that we co wrote. We've co written a few of them, but this was the first that we produced together. And there was a learning curve, believe me, when you're co writing and it's like we have two very passionate individuals who are learning
to write together. And so sometimes the cockberry heated when we're first learning how to do this, and it was like, you take it personally sometimes when somebody doesn't want to take your notes, and it's so different than working with a producer in development or something like that. It's you learn not to take the notes personally. But when you're writing right next to somebody and it's you start, there's this point like where it's no, it's like it needs
to do that sort of. I think by the time we did Rucker, we worked out how to do this together, how to write together.
And then of course he's barred from the set.
Correct he was a producer, so it wasn't barred for the set, but he was like helping to make it happen all the time. Yeah, yeah, I know, he's a wonderful producer.
I'm glad that the doesn't get too precious about the words once the cameras start rolling.
Yeah. I think at first he did. As a writer, it's like, you write the words and you're like, no, the actors need to speak them exactly the way they are on the page because they're perfect. And I'm like, okay, but sometimes that doesn't want to come out of people's mouths exactly the same for everyone. Sometimes people don't speak those kinds of words. It's about the meaning. I think producing films, he's come to this point where it's oh, yeah, okay, yeah, that's what needs to happen.
What were some of the biggest challenges of making Rucker for you and what were some of the biggest rewards.
The biggest challenge is came together pretty nicely, I'm to say. Just we decided to shoot where we live in Bremerton. Everything was Shaw and Bremerton The permits were a little bit iffy at first because I don't think Bremerton and it had very many films come to shoot there, and so we helped to create a permitting process which was really nice. And now there have been other films who we've helped to bring to shoot there and helped to pave the way for that. And shooting in a cemetery,
this very old cemetery. It's working with that was it wasn't difficult or anything. It was more like and they were so nice. They even put this pile of dirt for it. They were like, oh, we made a pile of dirt for you.
Thanks.
You know, that was so nice. I don't have to have a pa and do this with a shovel, and yeah, it all came together. We rented the race truck near there so that we could have a closed track to run the truck on and the truck. Local businesses were just absolutely really happy to have us. And one of them at the time, the manager of McCloud's, his son, was a big fan of my work, and he was like, really, oh, yeah, we'd love for you to shoot here. That'd be great,
and let's just it was just really nice. Everybody was so right. The community really came out to support us, and so I don't there weren't that many problems or challenges and now rewards were really creating community. That's what I love about making a film every single time, is just getting to know new people in the community and getting them all to come together and with this common goal of making this piece of art essentially. So that was my favorite part, always my favorite part.
Did anybody have any qualms about the subject matter?
No, they thought it was pretty cool. They were like, oh, they wanted the script and everything, and we gave them the script and we were like, we're very upfront when we're like, yeah, it's about a serial killer, but it's really more of a family drama with throat cuttings. And they were like oh okay, and they were like wow, that's yeah, Like everybody could get on board with generational drama.
They were like, oh, yeah, I get it.
Okay, this is good.
We talked about that long post process. What was going on during that time other than the pandemic.
Yeah, so we had a bit of a hiccup with getting some of the elements in place, and then we had this really weird kind of issue with Da Vinci resolved at the time that every time we started exporting for sound, it would make everything go out of sync. And so we saw this like very odd, little technical problem and it took a horribly long amount of time to do this. It was just not as we thought about moving it out. There was all of this kind of like stress.
About that and is it just you and your husband working on this or did you have another crew helping out with the sound?
Yeah, we totally had so. Sherwood Jones was our post production supervisor and editor. He's wonderful. He's like a really like just top tier professional working in la and I love working with him. But it was the first time he was working and resolved and there was just this really weird bud but it was nothing to do with him. Learned it super fast, and then we were even on the phone with black Magic like every day, Okay, have your developers found a solution, and is like what's going on?
And yeah, he handled it really nicely. And then our sound designer, Angelo is out of a New Jersey and we're just like doing everything via Zoom and.
Stuff like that.
So it's almost like the pandemic didn't affect that part of it.
Then it was a really nice learning curve to learn how to work remotely with other people, which is great. And I think a lot of people have just carried that over into the real world, the post pandemic world, I should say not.
Real world, so feel real a lot of times, though I know where you're coming from.
Yeah.
Yeah, and let's see. Trip Holland was our composer and he made our music. It was really nice working with him. So yeah, we just had a really good crew of people doing all this.
Even during the production. The movie looks great. Can you tell me about your DP?
Oh?
Yeah, Eric Liberaki and so we met him in Chicago. Aaron and I had gone to gosh, I can't remember the name of it. It's over on the lots there. It's like this where you can learn camera stuff. And so we're getting certified on the red cameras for as professors.
And one of our teachers was Eric Liberaki, and we're talking and during lunch one time, and he had made horror film and he's dped a lot, and we were talking about the film and I figured I looked at his work and I was like, oh, this is really good. He's totally down to work on a film like this because I wanted to do it's a really confined space. There isn't like a lot of lighting setups you can do with it.
I wanted it to look.
Very real, very quite realistic, and like somebodypas don't want to do that. They're like, no, we need five thousand lights like all the line. And that's great. It's just like with a film like this with a kind of confined budget and shooting schedule, I needed somebody who could just be like, Okay, let's do this. Let's just hammer
it out and do things with crazy stuff. And yeah, it was one working with him, and we used two read ak heliums at the time, and it was interesting working with a super thirty five censor instead of a small confined space. It was a little limiting, and that's why we worked with two cameras. Sometimes we could shoot a little bit faster, but it was like, it's really tricky to track.
The line when you're doing that.
Oh, I can't even imagine. Yeah, but that's really a good way to conquer that limitation that you had. Though I know so much of filmmaking it's just about solving problems.
Yeah.
The other reason that I really wanted to work with Eric is that I want to have a lot of students on set, and so I wanted all my department heads to be people who were really open to teaching. And he's a teacher as well. At the time, he was teaching over at De paul And in Chicago, and so I was like, Okay, this is just what we need to work with.
I forget ultimately what happened with the sound issue. How did that get solve?
Black Magic finally got back to us, And it's a really weird bug with their multi camera editing. It still exists. You can't export with compound clips. You can create compound clips and then just have a drop down in the timeline, which is super cool because you can be like this and oh this other shot, except that you actually have to get rid of the other ones before you export it, because otherwise at that point it will cause everything else thereafter to go out of sync. And it still happens.
And you were the guinea pig for that. We were yeah, oh boy, So I know you said that the Pandemic's over, but you wait a little while before the movie comes out. Can you tell me about the release of it.
Yeah, so we went with Giant, and we went with a PR firm out of let's say, out of Los Angeles, and it was interesting. I think they went to a bunch of places where I've never had any press, And I guess we'd like to do a re release just because there's a lot of interest now and I'm like, how are people finding our film now? Suddenly there's been this kind of surge, and so we'd like to do
a re release. I think it was released as a horror film because I think that they thought, oh, it's easier to do it that way, but it's not really a horror film, and so like horror fans work, this isn't a horror film.
I don't like it.
So I'm like, okay, yeah, it's not. It's a family drama with throacadding this weird like cross genre films tend to suffer a lot, and it's like they find their way and sometimes it takes a while, and so I think it's just like finding it's suddenly coming into its time. Now.
I know that you've done a few films since Anny talked about Gleampire, but then also in between there was Pygmalion.
Correct, we shot Pygmalion in Bolivia and we're going to I think we're releasing that this year. And that one we sat on for a while. It was like taking a long time in post as well, and really only because that is a meta film. It kind of we're slogging through the post production through the editor, trying to make make all of the stories interconnect in a way where it would flow better for the audience.
Is there a good place for people to keep up with you and your work and where to buy these things?
I don't really do social media, and yeah, people can email me.
So a new semester is going to be starting up pretty soon if it hasn't already, because I lose track of time. Do you already have like your project for next summer in mind or how does that work? Like how do you have a constant cycle where you're always creating?
Yeah, so I think the Portons and Film Festival as were Actually we're in production with the short film that we just wrapped on and they want us to do another one, and so I think they've already chose the screenplay for them. So I think we're going to make that next But I'm working on making a version of Venus and Furs and so I'm really into that. And then we have another screenplay that we're really keen to
make as well, called Pinata on Grata. It's a really weird, offbeat, dark comedy about this group of broken hearted people who gather together to have therapy and make pinnatas they represent.
Their pain and that smash them.
Yeah, eventually they get to smash them. They get to whack them every time they make a breakthrough and eventually get the goodies inside. But there's a faction of them that kind of goes rogue and tries to speed up the process. I'm taking those emotional breakthrough So it's a fun kind of weird, edgy comedy. So I'd like to make that one as well.
I look forward to your next project, especially a big fan of Sasha mass Sok, so seeing another version of Venus and Furs and what you bring to it, I'm really excited about because I loved Rucker and I'm so curious to see the rest of you work.
Oh thanks, thank you so much.
This was wonderful.
Well, thank you.
I really had a great time, and you have wonderful questions and this was a really great.
That's right. We were back and talking about Rucker and yeah, I'm surprised that there haven't been more serial killer Trucker movies because Trucker movies talked about serial killer films, talk about zombie films, but Trucker movies. They were a mainstay in the nineteen seventies. I know you guys have seen many Trucker films because I would consider the Smoking the Bandit series to be a Trucker series as well.
Yeah, that's shocking, right, It's like when they made Backdraft, like they hadn't made a firefighter movie.
What is road games in this list of things to consider?
I definitely think so.
Yeah.
I would say even duel because that's like the serial killing truck itself. We never see the driver. But yeah, I think dual and definitely road games.
Do ay ride, Yeah, because there's always don.
Killer on the road thing. Yeah, like I mentioned with Chick Kurkuncole movie, Oh, I would switch back. No, Switchback was the train movie? But then was it black Dog? That was another one?
It was rest Stop, No, it was something like that. It was shit Marker zero, Give Me Back My Wife with Kurt Russell.
Yeah, a lot of those movies around. It was Breakdown, Breakdown, and the Switchback movie. I'm thinking of as the one with name Danny Gliver, isn't it? Yeah?
Yeah?
And I didn't think that was a train movie? Was it a train movie? Pretty sure? It's the train movie?
Oh?
Okay, I thought there were. I think it's a serial killer on a train movie? Okay, Oh, serial killer on the train.
Look out, careful now? Am I being Eric Bogosian? Oh?
Even as Brent Hinckley in there, that's Bill Pembrey.
That's real tembre. Dammit, Tom, that's about you.
Look, why are we watching that? Can we watch that instead? We just talk about that for another hour? How many hours of talking about that movie can we get.
Out of that movie?
Is the real quest?
A lot?
I know? Yeah, I will say, I'm waiting for someone to do. Has there been like a quintessential serial killer trucking movie aor we still waiting for it?
I guess we're waiting for it.
I guess we're still waiting for it.
He just phrased it really funny to me.
I don't I know the look you just really haven't gotten the seminal serial killer truck.
I guess we haven't. I don't know if we ever have to be fair, have we? That's what I was trying to get out with this movie. This movie wants to be that. It's trafficking, and I'm surprised. I don't say lot lizards at one point. It traffics and a lot of the things you would expect. It just it doesn't nail it enough. But it has all of the very obvious things. He's like, Oh, there's a he's doing a map and it's random women and it's only a thing, and it's oh, you're checking all of the dub boxes.
But then you stop short, So I don't know. There might not be one yet.
Still wait.
It's funny though, because I just did a search for trucker serial killer and one of the YouTube headlines that comes up hundreds of murder victims linked to long haul truckers.
Yeah, that's the thing, the story.
Of Robert Ben Rhodes, who was the truck stop killer.
That's the thing.
Like the truckers are like in terms of a community to mine for serial killing, Like their profession alone is what it's all about, right, Like just the traveling in between states. It has nothing to do with the personalities and the people behind it. It's just the profession alone is what sets them in that area of Oh, wouldn't it be scary because they are never in one spot
for two longs? Yeah, it is just we haven't I don't know, we haven't had a Henry portrait of a serial killer for the trucking world yet.
Be prepared because there's a film called Midnight in the Switchgrass from twenty twenty one starring Megan Fox, Bruce Willis, Emil Hirsch Lucas has distributed by Lionsgate, based on the true story of Texas's most dangerous serial killer. It is all about the infamous truck stop killer. There's too much entertainment down there these days. Movie, well, this is one of those. This was a twenty twenty one Bruce Willis film. So this is when he was just cranking them out like nobody's business.
He stopped a serial killer who can't stop himself. That's the tagline for they.
I'm probably watched that.
Oh my god.
Oh yeah, it's but it's not told from the point of view of the trucker. Clearly, it's told from the point.
Of view of That's fine.
Yeah, I don't want to spend that much time inside the head of a serial killer anymore, honestly, Like, I'm with you on that, I've done it, And like I spent how many years with Dexter?
Yeah, hey, he's coming back though, no, no more. He died already, but he's coming back. I'm waiting for ghosts now. If Dexter can come back, Rutger can come back. That's all I'm saying. Seems reasonable to me at this point. Rutger two will be the equal to Rucker. It will be all of the killing of the people leading up to the beginning of the first movie.
Oh, and it's this idea of creating the portrait.
Yeah, it'll end with him opening the door being like, hello, oh you're a documentary film crew, Rucker. Oh that's how it, yeah, ends right, it feeds right into the beginning of the first movie.
You want to make a movie about me?
There you go.
Folks, citing your own throat seems like a difficult proposition. Yeah, that your knife must have been real, real sharp. Yeah, I can't even imagine.
I can't say, oh, it looks so fake when the people have their throat slit. Because I've never actually seen it in real life. I don't know how it looks, the arterial spray you mean, yeah, just it looked like a waterfall coming out of the one woman's head, right, because they augmented a lot of it with CG. If you were looking closely, like this pouring of blood. But evidently the effects were overseen by Steve Johnson, who was
a major fucking effects guy. Man or is rather elm Street four and Men in Black and just like online.
So I was actually surprised that they added a little bit of CG there, considering they all seem pretty fucking solid. I guess if you want the blood fucking geysering, then just do that on the set.
Yeah, don't do the Adobe post effects stuff, because you can tell looks like a Steven Seagal movie sometimes with those blood effects, because that's what they would use for the bullet effects in those movies. And it's like the same one every time flipped or turned upside down.
The rest of the movie just looks shot on video.
I'm guessing this is one of those early generations of the red digital cameras that they used here, and so they're already at a disadvantage because it looks a little shabbier than a regular sort of Hollywood film. So when you add fucking CG to that, don't do that, it just sticks out.
I kind of wish the whole movie had been in that like animation style that the end credits are in, that like weirdo story book Rucker as like a drawing. Again, Like, there's some weird choices that are made in this movie
that I wish can followed through. It's clear that they could make weird choices, so they should have made more of them, is my point, because in a lot of ways, like this movie is shockingly safe when you're producing, writing, and directing your own movie, and some of this is shockingly safe, but then you have weird animated segments and like these weird like animated segments, but then also this other stuff where it's like pictures that have been turned into drawings.
It's like, you can make weird choices. I'm here for it.
Please give us more of that, because I found that eminently more interesting than just a movie about a serial killer. Like we've already alluded to the fact that those interstitials are some of the best things in the movie. Just do more of that, not enough Corey Taylor singing, that's what we needed. Just put that over the credits.
Yeah.
I applaud those bold choices, and I agree with you. I wish it would made some more.
When you're making movies, that's what this is about, especially when you're making indie movies, especially when you're making your own stuff, like take the fucking chance, you're already making the movie?
Why not?
They definitely should have because those are the innovative parts of this movie. Those are the parts that I absolutely responded to. If you ask me what that movie was about, in five years, I'll tell you, Oh, that's that animated movie.
Right.
Hey.
It's good to see that movies are still being made, independent movies are still coming out, that people can still get things made in this day and age, that people resonate with it to pick it as a Patreon pick for your podcast, These are all positives. Just because it didn't resonate with us doesn't mean much of anything, frankly, and the fact that you're covering it on your show is a big plus for this movie and a big positive for more people seeing this movie. Ultimately, success is
had by all. Even if we didn't resonate with it as much as other people might have.
Yeah, I thought it was well made, I thought it was well acted. I just didn't like that script. Give this filmmaker a better script the end.
All right, let's go ahead and take another break and play a preview for next week's show. Right after these brief messages.
We are letting you out for a kind of probation, her aunt and I hope that you can conduct yourself normally.
What did they do live in the clinic those three years? Did it cheer you?
Yes?
Now I'm completely mad and I'm the anything I can not to have you squalled my sister's money.
Please leave it alone.
That still used to ray sein Esther for you.
Leave your cousins alone, all three of them these. This is a new game.
I don't trust you.
You get me here, Joy.
That's right. We'll be back next week with a look at Bell from Hell. Until then, I want to thank my co host Chris and father alone, Father Malone, What is the latest with you? Sir?
Check out my show midnight viewing over at Weirdingwaymedia dot com. Twice a month you'll hear a show with these two fellows, mister Mike White and Chris Stashio. We do the Horror Anthology podcast, where we are currently looking at Talales from the Dark Side. The other six episodes of the show per month are roundups of streaming stuff and looks at other anthology movies of every kind of variety. So midnight viewing, go check that out.
And Chris, what is going on at the Culture Cast, sir?
Just talking about horror movies in October. It's been ten years doing the podcast, to be ten more. It's horror Tober like you're doing sh October. It to Horritober over the podcast that I do all about movies. Culture Cast, weirding Way Media.
There you go.
Love it. Thank you so much guys for being on the show. Thanks to everybody for listening. If you want to hear more of me shooting off my mouth, check out some of the other shows that I work on. As we have said, they are all available at Weirdingwaymedia dot com. Thanks especially to our Patreon community. If you want to join the community, visit patreon dot com slash
Projection booth. This month, over at our Patreon and over at Chris's Patreon, we have Live and Let Die, the new episode of Ranking on Bond where we are joined by father alone, so great time to be have by all. Every donation we get over here at the projection booth helps us take over the world.
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