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In the Projection Booth, everyone for tend podcasting isn't boring?
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Hey, folks, Welcome to a special episode of The Projection Booth. I'm your host, Mike White. On this episode, I am talking with Sam Degan and Andrew Nettie. What those are co hosts? What are they doing being interviewed by me? Well, I'll tell you. They are the co editors of the New Film Revolution in thirty five millimeter Political Violence and Resistance and Cinema from the art House to the Grindhouse nineteen sixty to nineteen ninety. This book is in my
sweet spot. There are so many movies surrounding nineteen sixty nine May sixty eight, just the late sixties turmoil, early seventies turmoil, obviously turmoil all the way from nineteen sixty to nineteen ninety. I do have to say that I have an essay in this book, so take that with a green of salt, though I don't talk about it too much in this interview. Wrote a little bit about Peter Watkins and people hunting people films. If you want to hear more about people hunting people films, well check
out our Turkey shoot episode with mister Netti. That's coming out pretty darn soon, I believe in October. And of course Sam has been on so many episodes as well as Andrew, but this is also in Sam's sweet spot of post World War two world cinema. You know that Sam is quite a cinephile as well as Andrew and will recommend movies that I've never heard of, and that's pretty good. This is another book that's going to put a lot of titles on your wish list, on your
watch list. I imagine somebody is going to go out and make a list of all of the movies that have been covered in this book and throw that onto letterbox if they do. If somebody's got that kind of time on their hands, boy oh boy, I will be the first one to link to it. Definitely check out this book. It is available via PM Press. Can also get it wherever finer books are sold. If they don't have it at your local bookstore, hopefully you have a
local bookstore, they can order it for you. Thanks. So much for listening, and I hope you enjoy this interview Andrew Netti Sam Deagan, the co editors of Revolution in thirty five millimeter. I have my beautiful copy of it right here. I am so thrilled with this book, and even more that you guys asked me to be a part of it. How did this project come about?
I knew that I wanted to I ate something book length about political valence in cinema, but I didn't know exactly what that project might look like. And I was picking Andrew's brain about working with PM Press, and I think how it happened was I described the project and you were like, I'll be a co editor, and that was pretty much that, right.
I'll just invite myself into your book.
That's right.
Yes, you had that idea, which I mean was a great idea and sink to the couple of things I've been thinking about. And I thought it would be a good project for PM. And PM do beautiful books, and this one is they do beautiful, full color books. They certainly do the kind of books that I would never be able to do in Australia. So I pitched it to Ramsey Keenan who's the sort of head hon show at PM Press, And he said, yes, so give a supposal. That was that?
Yeah, And I'm I'm so glad that I didn't try to do a book like this on my own, Like I think for a lot of different reasons, it makes sense as.
A group project with like different.
People writing different essays. And I don't know, it's just I think, sure someone could do a solo book like this, but I think it's just so much better the way that it turned out.
Where did the idea of taking this around the globe come from? Was that right there at the original pitch as far as we want to look at revolution on film around the entire world, because you cover obviously not every single country, but a lot of them, that's for sure.
Yeah, we tried.
I guess to me where it came from was when I first started writing, I got pretty pigeonholed into writing about horror genre films, and it made me feel frustrated because it's one note to just be writing about one
genre or subgenre again and again. And I started thinking about representations of violence in film that are not in horror films, and it's just something I've started thinking about more and more over probably the last decade, and so when we talked about turning it into an actual edited collection of essays, it was we might as well, what's the widest go And I think that part was the hardest to narrow down.
It's like what do you leave out? Because there's so much.
For my part, I had co editor reread books with PM Press previously, and they were looking at aspects of pulp and popular publishing over the period that for one of the better word a lot of people call, or certainly learn of academics called the long sixties, which is that notion that the sixties really have their generous genesis obviously in the nineteen fifties, and the sort of political, social economic changes that happened in the sixties reverberate all
the way really into the nineteen eighty. So this book was a good fit with that. And I was a bit sick of writing about hope and popular fiction. I was actually quite keen to see something different, and I
was really interested to do something on film. And Sam was certainly someone whose work I had admired for a long time, and so it was great to work with her on this, and it was great to do something which stretched me in terms of writing about film for a book project and writing about a whole lot of films and I was really interested in which I hadn't
written about before. And as Sam said, there were many complicated aspects of the book, but one of them was how you narrow it down because there is so much so you had to have We had to have the sort of the key ones we have to have, got, we have to have Guillo, Pontecorvo, cost discover Us films like Z. Those are your basic ones that you just
can't avoid having and you should have them. But then there's also a huge slath of material that then became quite difficult to short through and what we include and what we don't include. Yeah, that was a sort of continual, a good dynamic tension in the project right up almost until we submitted the manuscript.
Yeah, it was like towards the end there it was like what final essays can we shoehorn into this book? Because we both just kept finding stuff that we're genuinely really excited about, which is the best feeling for a book project, rather than being like what else do we have to include?
And also a sort of truncating our desire, the possibility that you could just pretty much do the entire book on Italy, and within that you could almost do the entire book on Gamor of volentatous spirit animal of the book, because he's in so many of the film that we wanted to do and really trying to. Yeah, there's a lot of there's a lot of Volantai in the book, which is a good thing.
I haven't spoken to both of you about a Valente. I'm sure that, Yeah, he is right there on the cover of So how did you determine that size of the box as far as what was going to go into this and what wasn't.
Something that I have trouble reckoning with in my writing in general, is like more mainstream cinema, which I often find to be a lot of It is just like capitalist propaganda cleverly spun into something else, like at least if you're talking about political violence and films. So once we figured out, okay, we could do art house movies and other like marginal things like different types of genre cinema. You know, the subtitle is from the art House to
the Grindhouse. It's like that still alone could be like ten volumes, but at least it now married it a little bit.
A lot of it's also about with these projects, it's what you want and what you can find people to write about. We were paying contributors that they weren't being paid huge amount, and so to get people who can write well, write the kind of stuff we wanted in the book, but also something that they wanted to contribute it.
And that was a bit of a push and pull too, which is a good thing us approaching people and saying do you want to write about this, but also people saying, oh, look, yeah, I'm not sure about that, but I'd be quite interested. I've got an idea to do this, and then shaping that idea is important. And I think also with this material, and this is a sort of commonality with the books I'd done for PM Press about polp and popular fiction.
We did one book, I did one book with all three of those were done with a friend of mine in Melbourne called Ian McIntyre. And one book we did was about representations of youth devancy and popular culture and pulp and popular fiction. And we also did a book on how the Long sixties, in terms of revolutionary countercultural movements work were depicted in pulp and popular fiction, and we didn't went on science fiction as well, on radical
science fiction. But the difficulty is that the material is I don't want to say those words hasn't aged well or as controversial or as problematic, because they're all massive weasel words and I absolutely hate them, and there is no mention of any of those terms in the book.
But it takes a certain skill to write perceptively and sensitively about materials that a lot of people find easy to dismiss because it's exploitative, or it's got a lot of violence in it, or it's got a lot of sex in it, or there's sexual violence or all those things.
So you've got to be able to write about it in such a way that you're paying that material its respects, looking at why it came out and the roots of that material, and good in that material, and what's interesting in that material, but also what's what can be difficult in that material, but in a way that it's not
looking down on the material. It's hard to write about some of that culture well, I think in a non sneering way, in not an overly academic way, in a way that recognizes this material as connected to radical directors or for the most part, and radical movements or even just radical milliures or is influenced by that, even if it's sometimes unconsciously influenced by that.
Annie rose Melmett wrote this chapter about rap revenge films, especially the rep revenge films focused around like girl gangs, and tied it to politics and to second wave feminism in such an interesting way where I definitely feel like she's the only person who could have written that chapter in that way, because to have someone write about rep revenge films and take them seriously while also not trying to spin them into something bigger than they actually are
or weightier than they actually are their exploitation movies, but to connect it with these more very angry, violent, at least in terms of language, feminist writers and feminist movements, to me, it just that's really I think sums up what we are going for, is like people who take the political content seriously but can also write about films, whether it's an art house film or a low budget
exploitation movie, with the same level of respect. And I feel like you did a very similar thing with your essay about these films from Peter Watkins and from other people too, where you have all these sort of futuristic
humans hunting humans and it being broadcast on television. Like, I've definitely read some online writing about those films that is so disrespectful of them, and I think everyone who contributed to the book had a similar level of taking the subject matters seriously and being not to use the same war twelve times in one paragraph, but respectfully.
Well, tell me about some of your other contributors.
We have an interesting mix of fiction writers, academics, film critics, Like we have Matthew Kowalski writing about Yugoslavian cinema and the Yugoslavian Black Wave, and he's a really wonderful academic
who has contributed to some Blu Ray releases. I know he did something for Working Class Goes to Heaven for the Radiance release, But mostly he's an academic who focuses on Eastern Europe and Soviet Union and is just so knowledgeable in that area, but also is somebody with communist radical politics, so it's like when he writes about it, you could tell that he's super super passionate.
Another contributor, someone I know from Melbourne, is that he is a fiction author called Christos Chalkis. His parents were
Greek immigrants to Australia in the nineteen sixties. I'm pretty sure he's gay, comes from a working class Greek migrant family, and I knew that he was really interested in the work of Costa Gambraus, so I asked him if he would be interested in looking at what is Gambras's most famous film, which is z or Z depending on which part of the world that you come from, and he did.
He was keen to do it, and he did a really interesting take on that film, which I hadn't read anywhere else, actually, about how it intersected with his own awakening as a queer person, and also basically how it intersected with his own working class politics coming up in radical Greek sort of communist movements in or nineteen, which is really good.
There's also Michael Gonzalez who wrote his piece is similar to Christosi's in the way that they both feel really personal.
So he wrote this great essay about the spookou sat by the Door, which you know, you couldn't have a book like this without covering that film, and he talks about what it was like to grow up watching it, and it strikes this really great balance between being a more journalistic piece about the history of this incredible film that got buried and also just what it meant to him as I think he grew up in Baltimore, Is that right?
I grew up in New York in Brooklyn. I'm pretty sure it was Brooklyn, but he now lives in Baltimore here.
That's I think that's where I was getting that mixed up. But like talking about his experience watching it as a young black kid growing up, seeing it especially present themes so differently than the stereotypical black playation movies, and who else do we have. We've also got Robert Skvarla, who specializes he does some film writing, but he is mostly a kind of journalistic writer about conspiracy theories. Like he's written a lot about the CIA's involvement in popular culture
and things like that. And he wrote about the Killing of America, which is this Mondo movie from the early eighties, and just this history of the Mondo films as being this weird mashup of pseudo documentary and exploitation movie, and a lot of them really focus on violence as being this sort of foundational component of American society.
Yeah.
Another one was Kimberly Limberg's, who is another US based screens writer, sort of film critic whose work quite liked for a long time.
Now.
She's great, and she did a terrific chapter on films that look at sort of American campus revolt films from the late nineteen sixties and early nineteen seventies, particularly focusing on Antonioni's A Briski Point in nineteen seventy, which is both another one of those films that you can't do a book like this without doing a Briski Point, and I think that, interestingly, a film I had seen ages
ago and hadn't really cared very much for. But when I read kimberlyze writing on this film, and she actually writes about half a dozen other films as well as A Briskie Point. She also does the Strawberry statement getting straight.
But when I read her piece and read what she was saying about a Briski Point, I went back and revisited it and got a lot more out of it this time, which is one of the things I also really loved about doing this book, because discovering new films but also reading what our contributors had said about the films and then going back and visiting them based on that.
And that's something I also did while we were working with Christos on his chapter on Z I went back and revisited that silm and that got a lot more out of it with the richness of what Christos was saying about it.
Yeah, there's similarly for me, Scott Adlerberg wrote this chapter about Brazilian cinema Novo, comparing Glaberosia to Coffin Joe and growing up watching Coffin Joe movies like Bootleggs Bad transfer VHS tapes to reread something about him in that context of his films having this component of political resistance made
me think about them in a whole new way. Like at first when he pitched the essay, because we knew we wanted someone to do brazil cinema, like you could do a version of this book just focused on Central and South American cinema. But his pitch of comparing the two of them, in my head, I was like, how is he going to make this work? But it works and it's such an interesting comparison.
Along with Central and South America. I'm sure you could do a whole book just on Africa in African Cinema.
Yeah, that was one of my sort of rabbit holes that I fell down, where I wrote about Sarah Melderer and Uzman Semben and also Yusef Shaheen, who's an Egyptian filmmaker.
Writing those essays closer to when we were finishing up the manuscript was a really positive experience because some of those films are more hopeful in a lot of ways, especially knowing that a lot of these African countries while these films were being made, were able to successfully win their wars of life liberation and throw off the colonial government. So it was a nice thing to dive into after writing these depressing European chapters like the New German Cinema ones,
it's just so doom and gloom. It's like we're being repressed by these former Nazis. But having a couple of those African essays to write again, you could do a whole book on African cinema and probably some African writers as well, just like the whole diaspora.
Even while we've been doing this book, it feels like the ground shifted a little bit because Sam and I had been talking about how Oh, theok Criterions doing a season of these films, and Australian set up with the Moving Image did a season of films on em bedding earlier this year. So the stuff that we thought was very hard to find, he suddenly begin getting a sort
of a new look, which is nice. So a lot of lost film in the book, we're a lot of very hard to find film cultures that have been really used that the Invot term erased by various things, all lost, and a lot of that is obviously in the global South, but also in America. There was this really interesting American director, I don't know when you've heard of him, Mike called
Robert Kramer. I wrote an essay quite late in the piece about a nineteen seventy Kramer film called Ice, which is essentially about this student worker revolution in America in nineteen seventy. Quite a strange film. But all of Kramer's filmography is really hard to find, almost impossible to find in some respects, and let's just say that we had to get creative in terms of sourcing some other films.
Yeah, it is interesting though, from when we started talking about it and initially plotting an outline to now that the book is out, it does feel like there's just something in the air, because like Criterion has that Yusef Shaheen series on the channel, they put out some usman Semben films recently. Fingers crossed, maybe maybe some of those harder to find films will start to materialize.
Some of it.
I think, like writing about Egyptian cinema and trying to do more writing about Middle Eastern cinema, it was shocking to me to learn how little there is in certain areas because of the way the governments are set up and because of the way cinema is managed. So it's like from certain regions you just have this explosion of political violence and revolution on screen in films, and then in other regions that you could just hear the crickets chirping.
Well, when we were talking about this with a recent episode of and as yet on a public episode of your podcast that's coming up, when we're talking about Yu, said Jahanes Jamilla the Algeria, which is a nineteen fifty film that he did about the sort of revolution in Algeria, very much focused on a female figure, and that revolution is we were talking about the fact that Jahan himself I think did a large number of films, and the characters in that film, now some of those were in
sixty seventy. When there's one guy in that film that was at one hundred and thirty two Egyptian films, and that makes you realize that there's this whole body of film out there that you're completely ignorant about.
For some of those Egyptian films, you have to really like melodramas and musicals.
Well, speaking of melodramas and musicals, I was really happy that you have Indian films represented as.
Well, and none of them are melodramas or musicals. Yeah, that was actually really exciting that we were able to get. So this Indian film writer, Udai Batia, wrote this book about Indian crime cinema, and he wrote a chapter for our book about these gangster films that kind of a little bit like what Melville does and what some of
the French sixties and seventies crime directors do. A lot of these Indian gangster movies, which are again incredibly difficult to find for English friendly releases, they are similarly all about how gangsters and these organized crime gangs are basically created by the conditions of poverty and colonialism and government corruption and fit right in. And we knew there's so much more with Indian cinema you could do in a book like this. It just finding somebody with that expertise.
So we're so grateful that OUDA came on board.
Were there any areas of the globe that you wanted to have representation from about We're unable to find somebody to pen something.
I think some of it was an issue of word count, so I really wanted to do more another Middle Eastern cinema chapter and something on Persian cinema. But once we started adding in these shorter essays, and once we hit our word limit count, it was like, Okay, we have covered a lot. We could say more about South American cinema. We could say more about probably Soviet adjacent cinema, probably
more about Hong Kong cinema. We could have fit in here, although that's a little bit trickier because they do have some restrictions.
Could do ten of these volumes.
I think Latin America, Latin America, I think Latin America and South America was certainly one area that we could have just done a huge amount more. There's nothing for Mexico. There's nothing from a number of the Latin American countries. Cuba, Yeah, there's a chapter. There's a sort of outtake on some of the films in Argentina, and there's also one about
George Sanginis, who was a Bolivian director. But there was so much and of course we have mentioned Scott's essay about the sort of unlikely connections between Glora Roacher and Jose Marines. But we could have done so much more about Latin America, really gone deep into that I discovered, and you constantly discovered as you're doing these books. It's like the same when I was doing the pulp and
popular fiction books. You're always finding stuff, and then when the book is finished and comes out, he's still finding stuff. I came across Robert Kramer's work quite late in the book, so there's a short essay on his nineteen seventy film Without a Revolution in America in the United States in New York called Ice. But there's so much more. Would have been glat to have another chapter on him. Oh,
we could have gone to town on so much more. Friendship, Italian and as you say, Sam, Eastern European stuff that we could have covered.
My probably biggest regret is that I wasn't so when I was digging around trying to make a list of potential films from North Africa and the Middle East to include, I found some Lebanese films that I would have liked to have written about, but I was trying really hard
to find Palestinian films that would qualify. And I don't think we've talked about this in the episode yet, but our parameters were the Cold War, so roughly nineteen fifty five to the very early nineties, around nineteen ninety and no documentaries, and the only Palestinian films I could find surviving from the seventies were documentaries because everything else was
just destroyed or confiscated. I'm sure something is out there, and there's probably a Palestinian cinema expert who would be like, oh, yes, duh, you should have written about this, but you're both.
So too per film letter were their titles that surprised you where you said, oh, I've never heard of this before. It sounds like maybe Robert Kramer was a little bit of a surprise for you, Andrew what else really stuck out? And then also delighted you when you finally got to see it.
For me, and Andrew brought this up, but when I was writing my Usef Shaheen Egyptian Cinema essay, finding that he made this film called Jamila the Algerian which is about this real life figure Jamila Buherad, who was female freedom fighter, and to have an Egyptian film from the late fifties made while the Algerian War was occurring, focused almost exclusively on the female characters like absolutely blew my mind and I wish that one was included with this Criterion Channel series.
But it really changed a.
Lot about how I thought about Middle Eastern cinema, even considering that if film like that existed, where it's all about women just bombing the shit out of their colonial oppressors basically, but also with melodrama and romance and a musical number had the same.
Song to God with the Wind, which is repurposed attic aspect dramatic point of the film, which is terrific. Yeah, Kramer was certainly. Kramer was certainly a interesting discovery for me revisiting some of those films that Kimberly wrote about in her chapter on American Campus Revolt Films was really good. I mean, I talked about how we could have done
so much more on sort of South America. But the George san Ginis films, he was a sort of Bolivian new cinema director who has had a very strong anti colonial, pro the Bolivian Indians perspective in his films and then eventually fell fout of the military dictatorship in a military moment in Bolivia and moved about the placemaking films. His stuff is really it's really pretty incredible, especially given that it's made or an absolute shoe string some of his films.
There's one particular film he makes. It's a nineteen sixty nine film which is not an unknown film called Blood of the Condor, which is essentially about based on stories that were in the pretty sure the oblivion press, about how members of the Peace Corps were sterilizing Bolivian Indian women as part of their activities, and it's all about that and about the revolt against these Peace Corps of this particular Indian village, the revolt against these Peace Corps workers.
That's a really interesting film. Some of the Argentinian films are really interesting. These aren't hard to find films, but I personally got a lot out of this chapter I wrote in there about testy films, but also just talking specifically about those films that combine their crime plot with vaguely defied right wing conspiracies to destroy the Italian state and to asher ina right wing dictatorship, of which there are a surprisingly large number in the Putzier Testi pet
of films. Watching those was terrific. This one particular film nineteen seventy nine, I think it is, it's a Damiani film called I Am Afraid with Our Men of Alante. That was a particular highlight of those films. But yeah, there's some great films in that lot as well. It was great watching all of those together as well.
You also wrote this chapter about Patty Hirst exploitation movies that kind of blew my mind a little bit because I didn't realize there were so many of them.
Of course there were, including sort of Patty Hurst porn film or Patty Hurst sort of sexploitation film.
Yeah, Patty just called that. I think it was cooled, okay, because there's one called Patty by Robert L. Roberts that I've been looking for forever.
How there are so many film makers exploiting history because.
He was a pop culture fathing frenzy, wasn't she The story of an heiress to a fortune who then turns into a revolutionary is photographed robbing a bank, and around that the whole sort of the whole air, oh, the sexual air that she's potentially sleeping with, the captors and all of that is tabloid matter from heaven.
How long did it actually take to put this whole thing together?
I don't so.
The pandemic has really warped my sense of time. Possibly aging as well has done that. So I want to say about two years?
Is that right?
About a year and a half?
I think?
I think didn't take that long. In the grand scheme of things.
It feels like it must have taken a lot longer just because of the depth of the material. And then just how good the book looks. Who did your layout for this?
Braw and lang la y and g I'm pretty sure is the layout got?
It looks so beautiful.
Ramsey hads at times made comments to me about how expensive. Some of the previous books I've done for him have been some of those pop and popular fiction books which are also full color illustrated books. So I said, oh, look, maybe just a few black and white five ties, Ramsey, we don't need a lot, just a couple of things, and I said, oh, love, I think we should like a full color you know, that increases the appeal of the book. And I've just done an absolutely stupendous job on this.
That part is so important because so much of the marketing for these films, like so many incredible posters and promo images, and it just I don't think it would be nearly as dynamic without showing so much of that so boring to most people.
Which is something we strenuously wanted to avoid.
When the cover price is not that bad compared to how thick and juicy this book is better.
Than working with an academic publisher where you're not really allowed to include color images and a book half that size. It's they're like, all right, that'll be eighty dollars.
It'd be made one hundred and forty one hundred and fifty.
When US dollars.
I feel like them Press have been so great to work with, and some of it is they seem very aware that they're trying to put together a book package that people will want to read, like making it easier for people, whereas so many other publishing companies that I've worked for seem to not want people to read or buy the books. It's like, why are you guys in business?
Pam's thing is really he's really about getting books in the hands of paper. Ramsey's a massive bibliophile. He's constantly lamenting.
To me.
That the people out rating as much as they used to. So the whole thing is constantly trying to get books as good books as possible at the chiefest price possible, and move them as much as possible and to people who will read them. PM prins they are a radical publisher. PM Press obviously a distributor that gets the books into shops, but they do a large number of festivals, concerts, political events.
They're always having tables at all these sort of conferences and events that where they move books and a lot of stuff on music, punk culture and anarchist culture. They do some tremendous stuff. They also released I noticed because there's an ad in the back of our book for them. They also released a book on the Angry Brigade, which was this British urban guerrilla group in the nineteen seventies, so I'm going to have to pick that up.
And they also put out a two.
Volume documentary history of the Red Army Faction.
This is the struggle.
Every time I go on their website, I just want to buy everything, and I'm doing so. They're going to have a I don't know when this episode is coming out, but on Sunday, the twenty ninth, they are doing the Brooklyn Book Festival, and I'm going to go and sign things, and I feel like I'm going to have to leave my wallet at home because i know I'm going to want to buy everything that they have at this table.
Yeah.
Tell me about some of the events that you're doing to support the book.
My first event is on Wednesday, the twenty fifth at Philamocha in Pennsylvania. In Philadelphia, I'm doing a secret screening of a Japanese pinky violence movie all about very angry teenage girls of course played by early to mid twenties actresses destroying a high school. And then I will be at the Brooklyn Book Festival on the twenty ninth. I think my next event that tickets aren't for sale yet, but October twenty eighth, I'm doing a screening at the
Nighthawk in Brooklyn. I'm showing this German film called Bloody Friday that had script contributions from Fernando de Lio So if you like his Policziuteski films, you have an idea what to expect.
But it's basically a.
Very violent German crime movie where the bank robbers are politically motivated. And then I'm doing a couple of events in Chicago in the middle of November, and I'm booking things for La in January, so I will have all of those posted on Instagram once tickets become available.
And Andrew, are you doing anything over in Melbourne for this?
I'm not doing any events.
I of Red Belbert.
I am doing a lot of podcasts and various other activities online to try j yapp support for the book at Envious of Sam Bay Rep, Cinema Central as they are in New York.
Pise, Yes, that's Rott.
Is there a volume two in the works?
People keep asking me this and I'm like, I don't know, this just came out.
Yeah, give us a bride, give us a sick.
I know that you both work on a ton of things all the time, though, so I wouldn't put it past you.
That definitely was the struggle. Like we were saying earlier, I feel like the struggle of this is there. Once you go down these different national, regional rabbit holes, it's oh, now, here's a list of four hundred other movies that we could include.
So we certainly could do a second volume. But I think.
Because this just came out, it's a little bit hard to tell how into it people are. And I think working with a publisher, if you want to do a second volume, they need some hard evidence that the first volume is well received.
I have no doubt that people are going to eat this up because it is so good and I had such a good time. Other than that one essay about Peter Watkins, everything else in that book is fantastic.
That the guy who did that essay was a bit light with the contribution I saim to remember, we had to constantly get you, come on, get it to us.
Oh yeah, sounds about right, he tells, written under duress.
Yeah, I hear it does a bit of podcasting, so you might have been busy.
Yeah, he's you know, he's not busy. He just hangs out and watches a lot of drag Race.
Hangs out the hottop watching drag Race live in the dream.
Now I've switched over to Guy Mont's Spelling Bee, so I don't know if you've had a chance to watch that one, but definitely check it out.
I don't even know what that is.
No, I have no idea what that even did.
I can't remember if he's from New Zealand or if he's from Australia. But Guy Montgomery a big fan of the Australian task Master as well as the KI Week task Master.
What's task Man? This is a whole world I don't know about task masters.
This great TV show, Oh my gosh, I'll have to send you guys.
Sounds like the sort of tain Y I Novo series Mosca.
Is it a reality TV show?
It's basically five comedians and they make them do stupid things and they record them doing it, and then they bring them back to the studio and they replay the stupid things that they did and get their reactions from it, and then they're judged by the task Master and he gives them points for how well or not well they did on these things.
Yeah, this is like a whole most reality television and this kind of like performative reaction television is a whole world that I am not familiar with.
It is hilarious, I have to say, so, it's really good stuff when you are not writing books. Andrew, where can people filld view online?
They can sawn may lasted all over social media, often under the Monika pulp Curry, and they can also have sawned me doing a substack newsletter under my own I'm Andrew Netty on.
Substack and Sam how about yourself?
You can find me on Instagram under my own name, very boringly and also on Patreon, and I think those are the only two places I'm online.
And where's the best place to buy the book?
Through PM press? At this point?
I think it's available through most online booksellers from what people have been telling me. Also, Diabolic DVD is selling it, so if you're on there to buy some Blu rays, please add it to your cart. Vinegar Syndrome should also have it on their store soon.
I think it's because it's should be asked. Yes, it's basically on all the online LA's fall. You can also get it via the Great Satan Amazon, and you can obviously buy it from PM press in terms of in stores. It should be hitting US bookstores roundabout now.
Yeah.
Someone wrote me a day or two ago saying they found it in a Chicago bookstore.
Really now that's starting to come out. That's great, UK people. It should be out if the distributor should be getting it sometime in early October. Australian peeps.
Hey, that's just a luck.
The distributor will be getting it out. But I also have copies. Track hunt me down and get a copy off me.
Sam and Andrew, thank you so much for your time. This was fantastic.
Thank you so much.
Thank you that.
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