Puppets Week: The Best Moments of the Chucky Franchise (with Filmmaker Jack Bennett)

[00:00:00] It's a Jack-top review show.

[00:00:07] It's a Jack-top review show.

[00:00:14] Jack-top review show.

[00:00:20] It's a Jack- of review show.

[00:00:27] It's a chapter of review show.

[00:00:32] It's a chapter of review show. So far so good.

[00:00:46] The voice you guys hear in this recording booth is none other than filmmaker Jack Bennett

[00:00:53] whose credits include the anthrax music video blood eagle wings contributing for the books

[00:01:00] the damn dirty geeks talk among us and my my favorite horror movie as well as yeah, and helmet. He has gusted and

[00:01:10] provided numerous voices for earbud theater. And then we

[00:01:13] had 3k revival league as well as helming the best documentary on

[00:01:18] a cult film of all time known as never surrender about galaxy

[00:01:22] quest.

[00:01:23] Never surrender a galaxy quest never surrender a galaxy quest

[00:01:25] documentary I wonder what that movie's about well I still can't believe you

[00:01:30] opened up with a David Mamet quote because I had no idea like Mamet like

[00:01:35] sci-fi the nerve yeah well you know it's it's funny cuz that they open with that

[00:01:41] in in the cut that was released but we we actually had in my cut, we actually had that get led up to a moment when Mark Johnson holds up his book because he has this book of photos and in the book is the David Mamet quote.

[00:01:57] So Mark Johnson actually shared that quote with us because Mamet put that in there in one of his books.

[00:02:02] That's right. It was in an earlier book, but I, you know, yeah, it was in a post Kindle age. I'm not sure who would have known about it unless they were

[00:02:09] and followed him since the beginning of time, you know, for sure. Yeah. I think he says,

[00:02:14] Dodsworth, the godfather of place in the sun and galaxy quest, these are the most and all

[00:02:20] of those movies are like anti movie because like they are all putting the genre Just like we were talking about on our Robocop episode. We were talking about genre cliches. Yeah, but to the side

[00:02:31] I mean here we're talking about our favorite moments from the child's play franchise

[00:02:35] Chucky is both a godfather of

[00:02:38] killer doll movies as well as one that kind of just

[00:02:42] Also goes in directions like I was a so was he kind of one of your first horror

[00:02:47] comedies that you knew growing up?

[00:02:49] I was a Gribblings guy growing up,

[00:02:50] but I came into these much later.

[00:02:52] Like I had seen more of puppet master growing up

[00:02:54] than I had of any child's play.

[00:02:56] Yeah.

[00:02:57] How about you?

[00:02:58] I didn't hear a word you said,

[00:02:59] cause I was just thinking about when I told Sam Rockwell

[00:03:02] that David Mamet quote, and I was just reliving.

[00:03:06] In my mind, I was just remembering that I was in a hotel room in the village, and we're filming

[00:03:13] with Sam, and I told Sam that quote, because Sam had worked with David Mamet.

[00:03:18] Oh, I'm so sorry.

[00:03:19] He had worked with David Mamet on Heist. He's in Heist.

[00:03:22] Yes, he is.

[00:03:22] And he's actually a similar look with the dark hair and the mustache and everything.

[00:03:26] And I remember saying to Sam,

[00:03:27] so I just want to quote David Mamet.

[00:03:30] And I told him the quote, and that's what's in the movie,

[00:03:33] is Sam going, David Mamet said that?

[00:03:36] That's amazing.

[00:03:38] Like just how much is in that?

[00:03:43] How much is in Sam's reaction in that moment?

[00:03:45] Like I didn't, I only got to talk to the guy

[00:03:47] for about an hour, but there's still that quality of like,

[00:03:50] I could have followed up on literally everything

[00:03:53] we talked about and I hope I get the opportunity.

[00:03:55] You need to, dude.

[00:03:56] You absolutely need to.

[00:03:58] All the stuff they said about Chris Walken,

[00:03:59] all the stuff that he said about David Mamet, everything.

[00:04:02] It was just, by the way, Sam Rockwell is exactly

[00:04:05] what you hope Sam Rockwell is like. He is, he comes in, such a great guy and such a Sam Rockwell

[00:04:12] character, like from the moment you started talking to him. So he's all man. He's all man.

[00:04:18] He's a safe man. He's all sci-fi. So all right, stop, edit point. And then

[00:04:28] sci-fi. So, all right, stop, edit point, and then an answer to your question. Yes. Was Chucky one of my first guys? You know, it's funny, I was scared of horror movies when I

[00:04:35] was a kid, and that was because I hadn't seen any. So, I would see the unknown. Yeah, afraid of the

[00:04:42] unknown, but also I had such an act of imagination.

[00:04:45] I would hear what happens in a horror movie and I would imagine it so vividly.

[00:04:51] And that vividness, it just felt like watching a horror movie would be like being stuck in

[00:04:56] a nightmare.

[00:04:57] So I didn't really have any exposure to them.

[00:04:59] And then also my older brother could clear me from a room by saying, Jack, you can't

[00:05:05] watch this movie.

[00:05:06] It's scary.

[00:05:07] And I'd go out and run out of the room and then he would watch 2010, you know, the most

[00:05:11] on scary movie ever.

[00:05:13] Yeah, exactly.

[00:05:15] And so there was something about how what I imagined it to be, I think was just the

[00:05:22] effect.

[00:05:23] It would be the effect of having a nightmare.

[00:05:24] And I was still a

[00:05:25] little kid having nightmares. And then one day I get up before the rest of my family and I turn on

[00:05:30] the TV and I turn it to HBO. I wasn't allowed to watch TV during the week. So on Saturday mornings,

[00:05:36] I got to watch Saturday morning cartoons. So I would get up earlier. Yeah. So I get up earlier

[00:05:41] and earlier to catch more and more cartoons. And I would come downstairs and turn on the TV and

[00:05:46] When there were no cartoons because it was too early. I turned to HBO and it was fragile rock and

[00:05:51] Yeah, so I'm watching fragile rock at 7 o'clock in the morning on Saturday mornings

[00:05:55] And then one day I get up 630 and it's whatever was before fragile rock

[00:05:58] It was this this little cartoon called brain games, you know, it says

[00:06:02] a little cartoon called Brain Games. It says, ooh, Brain Games is now over.

[00:06:04] It was just like a little interstitial.

[00:06:06] And then one day I got up so early

[00:06:08] that it was the last 20 minutes of Return of the Living Dead.

[00:06:12] Oh, wow.

[00:06:13] Because HBO would show their last R-rated movie,

[00:06:17] I think it had to be done by 6 a.m.

[00:06:22] So if I got up at 5.30,

[00:06:24] I saw the last 20 minutes of Return of the Living Dead. I if I got up at 530, I saw the last 20

[00:06:25] minutes return living dead. I saw the ending of that movie

[00:06:27] before. So it's the way you want to do it, man. You start off

[00:06:30] with skin and Max and cold horror movies, and then you

[00:06:33] start your day off with Jim Henson hour and then you end the

[00:06:36] day with Sopranos whacking someone just well and and this

[00:06:41] also this would be the mid 80s of HBO. So the horror movies that I would see,

[00:06:47] because then I started doing it on purpose.

[00:06:49] Like my folks get up at 7 a.m. and say,

[00:06:51] what is he watching?

[00:06:52] Oh, Frank O'Rourke, great.

[00:06:54] Because they hear the nuclear explosion from the TV set,

[00:06:57] they come downstairs and they're like, okay, yeah, he's fine.

[00:07:00] And not paying attention to the fact that my brain

[00:07:02] has been completely evaporated and turned into a new brain

[00:07:06] because I just saw it last time.

[00:07:06] Turns, yeah.

[00:07:08] Yep.

[00:07:08] Ha ha ha.

[00:07:10] So I started doing that on purpose

[00:07:13] and I started watching the most I could

[00:07:15] of the last movie HBO would show

[00:07:18] before it turned to kids programming.

[00:07:19] And eventually I got up so early

[00:07:21] that I'm catching the entire movie.

[00:07:24] And the last movie of their R-ray programming would always be like a gnarly horror movie

[00:07:28] on the East Coast.

[00:07:30] So I'm watching Fright Night.

[00:07:33] I'm watching Reanimator.

[00:07:35] I'm watching Evil Dead 2.

[00:07:40] And my younger brother started getting up with me.

[00:07:43] And then suddenly, like I'm 10 and he's seven

[00:07:46] and we're watching,

[00:07:48] before my parents wake up, we're like sneaking in

[00:07:51] like a mid 80s crazy ass horror movie.

[00:07:54] You won't snatch your oil, you're better off.

[00:07:56] Yeah.

[00:07:57] And during, well, actually no, Ted,

[00:07:58] my younger brother Ted was all like, he took to it

[00:08:02] faster than I did really.

[00:08:03] And what ended up happening, like,

[00:08:09] because of that, I was watching these gnarly horror movies.

[00:08:12] And then the really popular ones became more like pop culture

[00:08:15] figures than they did, like, honest to God horror movies.

[00:08:19] And so it became that thing of Freddie was everywhere.

[00:08:23] He was on every poster for Freddie's, Freddie's revenge for

[00:08:27] Yeah, I don't know. I'm straight to go. I would see his face everywhere.

[00:08:31] And then what would happen is that was a scary face. And that was like haunting my nightmares.

[00:08:37] And then cut to a scant five years later. And he's, you know, he might as well been Don Rickles,

[00:08:43] you know, it'd be like, Oh, let's go. Yeah. Let's go see Freddie.

[00:08:45] Cause I felt like I was already becoming a horror snob by the time four and five were coming out. So, so basically I was raised on that stuff.

[00:08:55] But I do remember that it was, it was kind of a weird mixed bag because it was what was available to us because I couldn't go to the video store on my own yet. So I would, right.

[00:09:06] So I would watch the Friday, 13th marathon on Fox with all of the

[00:09:10] there you go.

[00:09:10] It was on every channel, dude.

[00:09:13] T and T and UPN.

[00:09:14] I remember Spike TV was still doing in the 2000s.

[00:09:17] I couldn't believe it.

[00:09:18] Oh my God.

[00:09:19] So when I finally got to rent Friday, 13th part two, when I was a teenager

[00:09:24] and I got to see all the parts

[00:09:25] they snipped out like the girl going skinny dipping or the you know or the guy getting the

[00:09:29] machete in his face you know all that kind of stuff and always blows your mind and I'm sure you

[00:09:33] love it as an editor yourself because it's like yeah just take five seconds away every you know

[00:09:39] it's like they do with every other movie is like every gunshot is still exciting. It just doesn't have the gory, you know, windshield blood spray.

[00:09:47] You know, you just see that.

[00:09:50] Yeah.

[00:09:50] I think, I think that there was also almost like they provided a service

[00:09:56] by making it so accessible.

[00:09:59] Well, no, I was going to say by being so awkward with the cuts because you

[00:10:02] could tell something was missing and And then that created I wonder what

[00:10:06] I want to what a commercial what happened to the video Oh, yeah,

[00:10:10] or even I remember very visually the first Friday 13th when

[00:10:14] it's one of the Morgan's it's somebody I actually I actually

[00:10:17] know her family but the first victim while the throat slice

[00:10:21] Oh, I just had my microphone the throat slice victim in the

[00:10:23] beginning Friday,

[00:10:22] The throat slice, oh, I just hit my microphone. The throat slice victim, the beginning of Friday at 13.

[00:10:24] Chucky's hitting his mic there, everybody.

[00:10:27] So I do remember that the advertising for Child's Play

[00:10:34] was not revealing that Chucky was doing the murders.

[00:10:38] It was him in silhouette, and there was even like,

[00:10:41] there was even a bit of a suggestion

[00:10:42] that maybe it was the kid dressed up as Jackie.

[00:10:45] Oh, nice.

[00:10:46] So when I finally saw Child's Play, let me see what you're...

[00:10:52] So that was 88. Okay. So I would have been 10.

[00:10:55] And I remember seeing Child's Play, I think, at Beacon Hill in the Dollar Theater.

[00:11:01] And I went and saw it it and when Chucky goes, you stupid bitch and the reveal

[00:11:08] he's alive with no batteries in him.

[00:11:11] The audience trying to get the people in pieces of Run for the Money with his use of the word

[00:11:15] bitch. BASTARD!

[00:11:21] We were watching that recently and my girlfriend hadn't seen it yet.

[00:11:25] And we were watching it and she screams, bastard!

[00:11:27] Pause, breath, bastard!

[00:11:29] Pause, and Liesel, my girlfriend says, is she going to go for a third one?

[00:11:36] Bastard!

[00:11:37] It's like, yes!

[00:11:38] Oh my God.

[00:11:39] Everyone's being told this direction and they're not realizing how repetitive it is until they

[00:11:44] get to the editing room. It's like, you realize this is in the script five different.

[00:11:48] For sure and just like in temple and no cut I did I haven't heard cut yet I'll just keep yelling bastard like a temple of doom where kid capture your motivation scream.

[00:11:56] I keep screaming.

[00:12:00] And then wine.

[00:12:02] And then wine

[00:12:07] She's she's got a lot of charisma in that movie but boil boy Does that reveal how Lucas and Spielberg were not in a shall we say feminist place when they create now?

[00:12:14] so

[00:12:16] Somehow is like I'm convinced it reminds me of that funnier die or

[00:12:22] Article where they're like I'm Tomanks. And if I told you I killed

[00:12:25] someone, you would still like me. Yeah, well, I'm not gonna take that bait because I know.

[00:12:33] It's almost is a borderline Prince or William Shatner thing where it's like somehow,

[00:12:37] despite them being a dick, somehow people are used to their shameless nature. So there's like,

[00:12:43] okay, I guess,

[00:12:48] but we can choose don't we? It's because we really do. Every I think it's everybody's got an internal barometer for that

[00:12:50] kind of stuff. And so really, yeah, yeah, it's almost like the

[00:12:55] idea of being quote unquote canceled is just how many people

[00:13:00] don't like you anymore. There's that versus how much we've

[00:13:04] expected it

[00:13:05] versus it's a long time coming.

[00:13:08] Or people talk about that all the time

[00:13:10] about how Richard Pryor had all of these problems

[00:13:12] that he was very open about.

[00:13:14] And therefore, even though he engaged

[00:13:16] despicable behavior, there was some part of,

[00:13:20] but we learned about that from him.

[00:13:22] And we heard his, you know,

[00:13:24] we could see how vulnerable he was and all the sort of stuff. If you really think about it, yeah, he did

[00:13:28] some really horrible things. And Bill Cosby was our dad. And then one day, it turns out

[00:13:35] that our dad was a

[00:13:36] life to us for 40 years.

[00:13:38] Yeah, exactly. And it's like you think about that stuff. And it's very, it's very hard

[00:13:43] to determine. It's very hard to determine what you're going to react to

[00:13:45] emotionally. Because there are some actors who I can still watch, even though they've had public

[00:13:50] troubles, or even watching movies made by people who have turned out to be destructive people and

[00:13:58] horrible toxic people. Oh, there's like, I'm glad I saw it when I did, because I'm not sure I can

[00:14:03] watch them now. Well, that's the thing.

[00:14:05] It's like, and then there are things that even unexpectedly

[00:14:07] I have a hard time watching now.

[00:14:09] Like even going in, I'm like, oh God,

[00:14:11] like I can't separate the reality from the fantasy anymore.

[00:14:15] Law and Order did pretty good.

[00:14:16] There's only like five episodes where I'm like, yeah,

[00:14:18] and that guy is an actual real life rapist in real life.

[00:14:21] So I can't watch it.

[00:14:22] Which one?

[00:14:24] Oh, there was a camera was a sexual harasser. And then there

[00:14:29] was, what's his name? Collins from seven seven. Oh, yeah,

[00:14:35] that motion picture. I already didn't like the episode. But I

[00:14:38] was like, yeah, but I especially I'm going to skip it just because

[00:14:40] I know he's a shitbag in real life. But that's a rough one,

[00:14:43] too. Because he's the new captain in

[00:14:45] Star Trek motion picture, which is a movie that I have that I

[00:14:48] have definitely defended throughout the years of like,

[00:14:50] you know, no, that's actually kind of the most Star Trek of

[00:14:53] all the Star Trek movies. And then every time he shows up,

[00:14:55] you're like, well, it's that guy again. But you know, but it's an

[00:15:00] internal barometer. And I'm not gonna tell anybody what to think

[00:15:04] or what to feel. And so if you think you feel it,

[00:15:07] think it, feel it, say it, whatever you want to do, I have

[00:15:10] my own set of rules and, and, and they evolve, you know, so

[00:15:15] it's like,

[00:15:15] we all want the same thing. But we just know how to internalize

[00:15:18] it, like you say, it's kind of like, okay, but like you say,

[00:15:22] you don't want to gatekeep. And at the same time, you do want to

[00:15:24] critique with, sure, ready to, as opposed to prematurely, like, okay. But like you say, you don't want to gatekeep. And at the same time, you do want to critique with sure ready to, as

[00:15:26] opposed to prematurely, like, well, we don't know all the

[00:15:28] evidence or maybe they're, yeah, it could be like the cane

[00:15:33] mutiny, where they're shitty, but they're not awful. That

[00:15:36] makes sense. And who's and who's worse, and who's worse than the

[00:15:39] cane mutiny, Captain Kweig, or that guy who manipulated the

[00:15:44] mutiny, the the Yeah, the guy who called mutiny, but the guy who manipulated the mutiny, the, the, the, not the guy who called mutiny, but the guy who was manipulating him to call me, which is worse, the, the manipulator or the guy

[00:15:48] who's clearly mentally ill. Captain, quick is clearly mentally ill.

[00:15:52] Do you want the manager who's bad at answering your emails or the assistant who is cutting

[00:15:58] some corners? Yeah, I mean, it's, it's all, it's mean, it's all case by case. And it's all,

[00:16:08] we just got to stay open-minded. Yesterday's virtuous is today's outdated. I remember

[00:16:16] when Philadelphia, when the Jonathan Demme movie Philadelphia came out and people

[00:16:20] thought of it as a win. And today people talk about as, boy, these two straight guys playing gay guys

[00:16:25] and they never even kiss, you know,

[00:16:27] like all that kind of stuff.

[00:16:28] It's, it's, or the birdcage, you know,

[00:16:31] a popular comedy that changed people's minds

[00:16:35] about something that at the time was a,

[00:16:38] was a really hard subject that today

[00:16:40] that's no longer a hard subject.

[00:16:42] It's more of a duh.

[00:16:43] Yeah, of course gay people are people.

[00:16:46] A lot of people think that.

[00:16:48] I know that there are some people that do not.

[00:16:51] But then it's like it comes fully around

[00:16:53] where then suddenly a movie like The Birdcage

[00:16:55] almost seems like a minstrel show.

[00:16:58] Where it's like that was a movie that changed minds

[00:17:00] when it came out in the 90s and today you look at it

[00:17:02] and it's like-

[00:17:03] It's a funny movie but yeah it's

[00:17:06] I love it I will I will watch that movie every week but also if you look at that movie and

[00:17:11] call boo on it boo away you know like that is that it is kind of like half the war history movies

[00:17:17] I see people being blown away no pun intended by some of these new ones I'm like yeah it's really

[00:17:22] no different than an episode of gun smoke or combat,

[00:17:25] you know, that I've already grown up seeing. Going back in time and watching, you know, half of the

[00:17:30] Sydney Poitiers movies that made him a movie star, you know, like that was, he's such an elegant,

[00:17:35] charismatic, incredible actor. And every time he shows in a movie, you're like, Oh, wow, he is a

[00:17:40] star. And then the context of the scenes he has to play.

[00:17:45] You know, when you look at that and you're just like,

[00:17:48] yesterday's virtuous is today's outdated.

[00:17:50] And how they even got made back then.

[00:17:52] Yeah, yeah, for sure.

[00:17:54] It's almost like with half the different movies you have now

[00:17:57] is like some of them are bigoted producers who aren't.

[00:18:01] Right.

[00:18:02] Or execs who don't really understand it

[00:18:04] but just want easy ratings

[00:18:05] and then there's other ones who are like I like the idea and progressive nature I just

[00:18:09] don't think it'll make money and just like well wrong you are it's totally make money

[00:18:14] yeah you know I I don't have like the most controversial opinions that I have tend to

[00:18:22] be things like that movie that everybody

[00:18:25] likes I tend to think is a bad movie.

[00:18:27] You know, I should like that because I do I don't come from a famine mentality.

[00:18:32] I come from a mentality that there's enough for all of us.

[00:18:35] And I do want to see I look the hype die down man.

[00:18:38] I want I want to fail.

[00:18:42] There's going to be 500 clickbait articles saying everything right or everything

[00:18:47] wrong about this movie. And you're like, yeah, well, and if you need to go to any of these

[00:18:53] clickbait things just to form your own opinion, you're probably already not ready to have this

[00:18:56] conversation. You're just looking for easy, just, you know, boxing matches.

[00:19:01] Sure. But I'm also, I'm not gonna shit on what anybody's interpretation of things are

[00:19:07] because I do think that it is, what anybody has to say is valid and what you choose to

[00:19:14] accept or reject is also valid and there's validity and just, we have to kind of create,

[00:19:19] we have to create our own moral space that we exist in.

[00:19:22] And you find other people that share your values and that's,

[00:19:25] you know, I don't think of it in terms of tribalism where circle the wagons and protect

[00:19:30] yourself from all the outsiders. I do think that there needs to be harmony and consensus,

[00:19:34] but I also believe that, you know, I probably, I was somebody who was more progressive growing up

[00:19:41] in a red state. So I was like, Virginia was a red state when I lived there.

[00:19:47] And so I lived side by side with many people

[00:19:50] who disagreed with me all the time.

[00:19:52] And I think that there's a-

[00:19:53] Pretty hard to do.

[00:19:55] Well, no, it's not.

[00:19:56] It really wasn't.

[00:19:57] And maybe it's gotten harder,

[00:20:00] but I do, because a discourse is something

[00:20:03] that people are interested in less and less. But I do think that there is something that people are interested in less and less

[00:20:05] but I do think that there's something we said for

[00:20:08] when you grow up in a situation where people don't have the same views but have to get along because if they don't the

[00:20:15] Factory closes, you know, yes, it's like you learn and then even talking about you know

[00:20:21] working with police or people in the military or you know

[00:20:24] there are there are things where

[00:20:26] you're in a platoon and you're in a squad and you have to

[00:20:30] everybody's got a common goal.

[00:20:31] Would you commit some war crimes for me, maybe?

[00:20:33] Yeah, I never had to do that. Thank you. But then but then

[00:20:38] that's not casualties of war or the deer hunter. I swear.

[00:20:42] I mean, you do wonder, you do wonder how you would act in those situations and that's why

[00:20:46] I find movies so important because they become like. That's why I like gangster movies too. I mean

[00:20:50] you have a tolerance factor of okay the film kind of like we were talking of Rehoben the other day

[00:20:56] is like yeah okay they're trying to see how they can get to you and if you're bothered that's a

[00:21:01] good thing versus okay this movie knows what it wants to be

[00:21:05] but it's not doing it the right way like Roland Emmerich wants to make an important movie he

[00:21:08] doesn't know how to make an important movie so well and and then Roland Emmerich could point to

[00:21:13] the box office grosses and say it's that important damn it you know and then there's

[00:21:18] that's just a way of looking at it money just backs everything up after a while and

[00:21:23] and all the turned around.

[00:21:30] One of the few critics you can't buy he would say it's not a good movie but it's an entertaining movie free out of four stars. And he was one of my favorite critics and boy oh boy did I disagree

[00:21:36] with him on so many movies he gave a one he gave one star to blue velvet he gave one and a half

[00:21:41] stars of raising arizona those are two of my favorite movies. And like the list goes on and on. It's like he gave three stars to the remake of The Haunting

[00:21:49] and he based his review of being positive on the production design. He was like,

[00:21:54] it's a great house, three stars. And you're like, what the hell is wrong with you, Roger?

[00:22:00] But he was also, you know, I like Seagal but hated Van Dam Dam. You know, it's everything man. I mean, yeah

[00:22:07] I like to go back in the day. I like those I like to both we all did because we were like

[00:22:12] He's cool and just showed you how we had bait watch logic. We just thought hey, this is how everything works

[00:22:18] It's like a snow horse if it hadn't been for under siege, we wouldn't have gotten the fugitive with Harrison Ford

[00:22:23] If it hadn't been for under siege, we wouldn't have gotten the fugitive with Harrison Ford. That's the other thing you gotta look at too, is like half these movies, you may hate them,

[00:22:29] is like, thank God for, if you wanted to praise Tarantino, yeah, thank God there was grindhouse

[00:22:35] movies, because then you wouldn't have had Tarantino. And that's what it is. When you really

[00:22:40] comes down to it, it really is, what I was saying before about the channels.

[00:22:49] The channels being like, and like, there's an inlet, there's a sound, and then you can follow these channels and you go down the channel that you like, and that's, that's the channel you

[00:22:54] swim. And I don't think that means block out the stuff you don't like, because we should be

[00:22:59] sampling all kinds of things. We should be seeing if we like all kinds of things. But if you don't like it, you don't have to like it. You know, nobody, nobody should feel pressured to follow what the

[00:23:11] group thinks. It's a good segue here. This is going to be a bunch of sequels and spin offs of

[00:23:16] this whole chucky franchise that Oh, yeah, love or hate. But it doesn't matter. Because like,

[00:23:22] it's one of the rare ones that you kind of respect. It's not like

[00:23:25] hey I disowned this one Star Wars movie or Jurassic Park sequel that went too far or

[00:23:32] saw our Fast and Furious where it's a shadow of its former self for better or worse and now

[00:23:37] with Chucky it always knew what it wanted to be. It just wasn't a matter of whether you

[00:23:43] wanted to be, it just was a matter of whether you liked it, I guess.

[00:23:45] Yeah, but I but I'll say this. Since Don, since Don Mancini

[00:23:50] sort of took over the creative direction of it, there's been

[00:23:52] more of a consistent direction. And before that moment, which I

[00:23:58] think you can call Bride of Chucky, even though he wrote all

[00:24:00] of them. Before that moment, it did kind of have a shaky liftoff.

[00:24:06] And it's a great first movie. And then you have two movies are kind of trying to replicate the

[00:24:11] success of that. Oh, yeah. But they're better than the RoboCop ones in that they don't have to try

[00:24:16] and juggle satire. Well, you asked me before if he was an early one for me. And I think when I

[00:24:20] was a kid, he didn't speak to me. And I think that it was seeing too much of similar stuff.

[00:24:26] Yeah, it was a little it was he was sort of the silly one. You know,

[00:24:29] watching this, you were watching the howling you were watching.

[00:24:32] Yeah, you're absolutely right. I was plenty of other ones. I was already

[00:24:35] watching the thing the fly fly American World in London. And, you know, I was I

[00:24:42] was already watching the stuff that was kind of before my time.

[00:24:46] So because I

[00:24:47] said you mentioned Reanimator, there's another one, you know, yeah, all those other evil

[00:24:51] dead esque horror comedies where that would have some sci fi exposition and even some

[00:24:56] action to finish it up.

[00:24:58] I would and I would argue that Reanimator is not a comedy anymore than like brighter

[00:25:02] frankenstein's a comedy. But I would also argue that Shaun the dead is not not a comedy any more than like brighter frankenstein's a comedy it's but i would also argue that shawn the dead is not necessarily a comedy it's a horror movie that's

[00:25:09] just really funny has a lot of comedy in it and i and i kind of like Jurassic park kind of well

[00:25:14] yeah sure they're like jeff because like there's comedic dialogue but it's not like you say it's

[00:25:19] not a horror comedy it's just and then and then the the difference between comic relief comedy

[00:25:24] it's a very funny movie but it's not an action comedy

[00:25:26] and some of my favorite dramas are hilarious like that's the

[00:25:30] thing of like if you I just feel like that's the reason why I

[00:25:34] love horror as a genre so much. It's that's a giant umbrella

[00:25:36] and you can put almost anything underneath so many elements so

[00:25:39] many so much commentary like we talked about before and so the

[00:25:44] original text with chainsaw Massacre is a horror movie,

[00:25:47] and Shaun the Dead is also a horror movie. And Cronenberg movies, you know, Video Drome is a horror

[00:25:52] movie, and The Brood is a horror movie, and Don't Look Now is a horror movie, and One of the Dead is

[00:25:58] a horror movie, and Last Train to Busan is a horror movie. And you know, all the J-Horse stuff,

[00:26:04] Audition is a horror movie. Yes. And you know, all the J horse stuff all all you know, audition is a horror

[00:26:06] movie. Every other Giallo supernatural Italian drama.

[00:26:08] Yeah. Argento has moments that have come off as

[00:26:13] unintentionally funny, but they've added to. Yeah. His

[00:26:17] mind blowing plot twists and unforgettable style. So and

[00:26:23] yes, so now that you see all these movies emulate each other,

[00:26:27] you're wondering who is the main king or are they all part of the same food chain?

[00:26:32] If you compare Dawn of the Dead to Shaun of the Dead, like are there more comedy bits in

[00:26:36] Shaun of the Dead than in Dawn of the Dead? And of course I think the answer is yes,

[00:26:40] but then by the end of Shaun of the Dead, there's no comedy. There's something you said for,

[00:26:48] I have a dear friend who was giving my girlfriend and I basically a class in romantic comedies.

[00:26:56] And that's because my girlfriend and I are huge genre fans and have never really, like the one

[00:27:02] genre we've never really engaged in is romantic comedies.

[00:27:07] Is your future so bright you had to put on shades?

[00:27:09] Oh, well, this is nighttime glasses I use to remove junk light, make me sleep better.

[00:27:16] But it's all good. Yeah, for those who can't see it, they're wondering why I'm doing a CSI.

[00:27:20] I'm putting on the glasses. So, I thought you were making a dream a little dream reference.

[00:27:25] I thought you were gonna start saying romantic comedies

[00:27:27] and you referenced a terrible one.

[00:27:29] No, anyway.

[00:27:30] I remember sunglasses at night, baby.

[00:27:32] So, you're learning about comedy, romantic comedy.

[00:27:35] Romantic comedy, specifically,

[00:27:36] because we're giant horror nerds, we're giant comedy nerds.

[00:27:40] Chucky is totally a romantic drama.

[00:27:41] Well, and the thing is, my friend said, what's the difference

[00:27:46] between Shakespeare's tragedies and Shakespeare's comedies? And the answer is the tragedies end

[00:27:51] with a funeral with a death. The comedies end with the wedding with life. And that's the difference.

[00:27:58] Her name is her name is Jess Lorden. I just want to call her out. Jess Lorden. She's a genius.

[00:28:03] So the brilliant, I tell you,

[00:28:05] but that's the thing. If you look at Shaun of the Dead, there's, there's a nice kind of happy ending.

[00:28:10] But to get to the happy ending, you have to go through all this misery. So I would kind of argue

[00:28:14] that I would argue it's more of a zombie movie than it is a comedy. I would argue that it's more

[00:28:19] an actual zombie movie than it is a satire of them. And I'm wrong. So when you

[00:28:26] get to write anymore my dude, I mean, I don't know why is that

[00:28:30] the why you had me on the spot? Right? Down is up cats or dogs.

[00:28:35] I hate the chucky TV show, but many people love it. So do you

[00:28:39] not like it?

[00:28:40] I can't get into it at all. I just find where you stop. I saw the whole season one and was just like these kids can't

[00:28:48] act their way out of a sandbox.

[00:28:49] And the CGI is cruel.

[00:28:52] I was pretty cruel, but I get it.

[00:28:55] I get you with the CGI blood.

[00:28:56] I get you with the CGI.

[00:28:57] I just don't.

[00:28:58] That's a bummer.

[00:28:59] I just feels like one of those lesser puppet master movies where

[00:29:03] they're reusing a lot of footage. And it wasn't to me like Ash versus Evil Dead where each season is re-examining

[00:29:11] each installment in the movie.

[00:29:12] Yeah.

[00:29:13] And doing some closure while doing and then the last 20 minutes much like Shaun the Dead

[00:29:18] are giving you all the gory goodness that all the hounds came for.

[00:29:21] But well, let me tell you more power to them all there people are talking about the police disarming fight that's kind of crazy in the first

[00:29:30] season hmm let me let me give you my Chuckie theory I think that Don Mancini

[00:29:37] has found a wonderful clothesline to hang so much of what he's really in oh

[00:29:42] yeah I love them so then and and part of that clothesline is what my, another brilliant friend named Jesse, my friend Jesse

[00:29:51] Merlin, he told me it's not haggsploitation, it's psychobitty.

[00:29:58] Psychobitty. So the fact that-

[00:30:01] Specific.

[00:30:02] Well, the fact that Jennifer Tilly is full on embracing her Joan Crawford in William Castle movies kind of aspect of her career and she's doing it with such skill and she's so funny and she's like you find these things that should be campy, but since they're infusing them with such a

[00:30:27] lusty kind of like a bloodlust, like it has become this thing that should be camp and it would be

[00:30:35] camp if it wasn't so misanthropic. So it's a little campy and it's a little misanthropic and that to

[00:30:41] me is Chucky in a nutshell. Rewatching all of those movies, because I did that recently,

[00:30:46] because Chucky kind of went from being a guy I wasn't too into to maybe my

[00:30:50] favorite slasher. And the reason,

[00:30:53] the reason is because he's a great character.

[00:30:56] That character can't keep his shit together for more than five seconds without

[00:31:04] exploding into a murderous

[00:31:05] rage. He's playing the long game and all these movies where he's like, I'm going to pretend I'm

[00:31:10] a dog. And then when he gets caught, it's like, Andy, let me out of the closet. I remember we're

[00:31:16] friends. I'm not going to hurt you. Let me out of the fucking closet. I'll fucking kill you.

[00:31:22] Yeah, schizophrenic almost. But it is funny.

[00:31:25] He's so full of rage.

[00:31:26] He's just so full of rage.

[00:31:29] Even the way he just like in Chucky in a child play too,

[00:31:33] there's a moment where he's in the car

[00:31:34] and he's got the gun on the driver.

[00:31:37] And he says, pull this piece of shit over.

[00:31:39] It's like pull over and park this piece of shit.

[00:31:43] It's like, he's just full of hate. He hates everything he hates. He hates

[00:31:47] that guy's perfectly normal car. You know, anyone else that would

[00:31:51] just feel generic and somehow he makes it still because it's Brad

[00:31:55] Durev Brad Durev Brad freakin good actor. He's such a good

[00:32:00] actor who's next to this Oscar nominee from cuckoo's nest and

[00:32:04] just a guy who can show up in dramas

[00:32:07] and exploitation movies, and he's always great.

[00:32:09] And he's got a great resume.

[00:32:11] A great resume.

[00:32:12] Like a guy who, I mean, he's in one of the most popular

[00:32:16] film trilogies of all time, The Lord of the Rings, right?

[00:32:19] Yep.

[00:32:20] And then he's also in like Rolf Konesky's movie,

[00:32:23] The Hazing.

[00:32:24] You know, and he's in graveyard shift, you know? He's in, he's in, he's also in like Rolf Konesky's movie, The Hazing. You know, and he's in graveyard shift.

[00:32:27] You know, he's in he's in he's in craps.

[00:32:29] He's in crappy movies.

[00:32:31] But yeah, and he's in Blue Velvet.

[00:32:33] He's in fucking Blue Velvet.

[00:32:34] He's got it.

[00:32:35] Wasn't that he's wise blood and obviously part of the Star Trek

[00:32:39] and Deadwood family.

[00:32:41] So there you go.

[00:32:42] Oh, Deadwood.

[00:32:43] And he's such a terrific actor.

[00:32:45] He is such a terrific actor.

[00:32:47] He finds a way.

[00:32:47] He gives heart to everybody.

[00:32:49] And just like that thing we're talking about in the RoboCop

[00:32:52] thing about Kurtwood Smith, he finds that way

[00:32:55] to have everything be convincing, but also layered.

[00:32:58] He finds layers in even a generic bad guy line.

[00:33:02] And he finds the time to be delicate

[00:33:05] and the time to be soft

[00:33:06] and the time to be a little whimsical.

[00:33:08] And then in the seat of Chucky,

[00:33:10] possibly the series nadir,

[00:33:11] a lot of people say that's the worst movie.

[00:33:13] In the seat of Chucky,

[00:33:15] you've got my favorite moment in the whole series,

[00:33:18] which is him.

[00:33:20] Oh my God.

[00:33:21] When Chucky says, wait a second,

[00:33:23] I'm so sick of you poisoning our child's mind

[00:33:26] with the idea that murder is bad.

[00:33:29] I love murder.

[00:33:31] I'm proud of it.

[00:33:32] I'm good at it.

[00:33:34] You know, like this whole,

[00:33:34] he gives us some passion, defense of murder.

[00:33:38] And you're like, he loves killing people.

[00:33:41] Murder at 10, yeah.

[00:33:43] He doesn't get off on it.

[00:33:44] He just loves doing it.

[00:33:46] Yeah, and in the way that Freddie went from being scary to kind of being a guy like an insult comic,

[00:33:53] like Freddie, you know, Robert Englund is a terrific actor too, but Freddie,

[00:33:58] Freddie doesn't have that quality that makes us...

[00:34:02] He's only as good as the movie he's in, even though he's a hundred. That's a good point to make. Yeah, Chucky is kind of like

[00:34:09] Bradderiff is self-aware even if the movie isn't. I think that's the power.

[00:34:12] Well and also Bradderiff shows up. He's never just collected a paycheck. Yeah.

[00:34:16] And Mark Hamill is an equally good actor and an incredible voice actor and

[00:34:21] there's just nothing to his Chucky when they remade it.

[00:34:26] Yeah, he was given it, and yet it just didn't,

[00:34:29] like, you want to talk execution.

[00:34:30] That was a perfect example where I was just like,

[00:34:32] why did they bother?

[00:34:34] We'll return after these messages.

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[00:35:51] I don't blame Mark Hamill at all for that,

[00:35:53] but it is, I'll tell you why they bothered,

[00:35:55] and I'm making the squeezy money,

[00:35:57] the slippery money fingers.

[00:35:59] Yeah.

[00:36:00] The money, what's the money?

[00:36:01] Even the score by Barry McQuarrie

[00:36:02] really let me down,

[00:36:03] and it's the same,

[00:36:04] because I know he's such a good composer though, yeah. Yeah, I don't remember the score by Barry McQuarrie real let me down and it's the same because I know he's such a good composer though yeah yeah I don't even I

[00:36:08] remember the score but like that's my point you remember his score for the

[00:36:16] second Godzilla movie where he he actually brings in the themes from the Japanese movies. I did it, but I do remember the Blue Oyster Cult.

[00:36:28] Oh, that was great.

[00:36:31] And I think my friends played on that too.

[00:36:34] I know Brendan played on that.

[00:36:35] I think Scotty and played on that.

[00:36:38] But that was what band was it?

[00:36:39] It was like a super group that Bear created.

[00:36:42] I'm going to find that because it's yeah, yeah, they covered the Blueaster cult.

[00:36:47] Let's see.

[00:36:48] You can edit this out if you want.

[00:36:52] We'll do it live.

[00:36:54] Do it.

[00:36:54] Fuck it.

[00:36:55] Do it live.

[00:36:55] OK, let's see.

[00:37:02] I want to get this right.

[00:37:10] Oh, that barely. It was sung by Serge and Kim from system of a down and I don't I don't want to mispronounce his name but tanky and probably.

[00:37:21] Sorry, no, it's good.

[00:37:22] I'm doing it's him.

[00:37:24] So it's him. So it's him and.

[00:37:27] That's just so hard.

[00:37:29] To.

[00:37:30] To Google.

[00:37:33] Because it's like Godzilla cover.

[00:37:35] What.

[00:37:37] What.

[00:37:39] All right, here we go. Okay, so.

[00:37:42] Bear McCreary.

[00:37:50] All right, oh for fuck's sake.

[00:37:54] You might have to edit this whole part out. Yeah, if you can't find it, we can.

[00:37:58] Oh, wait, wait, maybe here it is, okay.

[00:38:02] Okay.

[00:38:14] Okay, yeah, no, it's so it's bear it's Brendan and surge is singing so it's yeah, so it's mostly

[00:38:20] Maybe Gina Mowglin did the did the drums. It's it's basically death clock with surge singing That's basically what it and they're doing the arrangement. So, but that's, and

[00:38:25] that's the things I remember when that exploded. I didn't even know that was happening. And

[00:38:29] then the end credits of that movie and that song exploded through and I was just like,

[00:38:33] because it's always been an awesome song. And then they hear it that big and like with

[00:38:37] those big fuzzy metal guitars, it was, uh, that was fantastic. Nice. But, um, but anyway,

[00:38:43] so yeah, so going back to Chuckie, Chuckie is critic proof.

[00:38:47] Well, he's critic proof, but also it does become that thing of the continuity of having it be

[00:38:52] Brad Duroff and Don Mancini and always having the sort of gleefulness of Chuckie to return to.

[00:39:01] It's like, even if you get caught up in the soap opera of the teenage characters of the Devin Sauer character, or

[00:39:08] all this stuff with Fiona, the thing that I love about Fiona's

[00:39:10] performance is she gets to play two characters, you know, she

[00:39:15] even gets it. And if you watch the third season, she's

[00:39:18] practically playing a third character by that point. Oh,

[00:39:21] wow. Because she's playing the evolution of one of those characters. And it becomes and

[00:39:28] it becomes that thing of like, that's what part two was missing

[00:39:31] because like the same kid comes back and he looks like he doesn't

[00:39:34] want to be there compared to the first one where we're rooting

[00:39:36] for him to get out of peril. Mommy, Mommy. Well, and that's

[00:39:39] the weird thing too is and we were talking about this the other

[00:39:42] day about how Catherine Hicks married Kevin Yeager, who's doing doing yeah the effects guy on and did you know that the eyes for the

[00:39:49] crib keeper are Chucky's eyes oh I didn't know that that makes a lot of sense though Kevin

[00:39:53] Yeager is a bit of a genius himself he's on dads from the crib you should check them out

[00:39:57] yeah that's great um but there was a moment when we when we did an episode of our show

[00:40:02] when Scotty and and I went to Tony Gardner's shop, Tony Gardner

[00:40:06] took over the Chucky effects with Seed of Chucky, and he's been doing them through the

[00:40:10] series.

[00:40:11] So, he did Cult of Chucky, he did Curse of Chucky, Cult of Chucky, and now he does the

[00:40:15] series.

[00:40:16] Oh, lovely.

[00:40:17] And Tony described a moment where Fiona Doreff is looking at the Chucky doll and saying, oh,

[00:40:23] wow, this doll has my father's eyes.

[00:40:26] Wait a minute, I have my father's eyes.

[00:40:28] So this doll has my eyes.

[00:40:30] And I think casting Fiona might've been the best thing

[00:40:34] that that series could have done

[00:40:36] because certainly Brad Derv is gonna show up for that,

[00:40:39] you know, those movies starring his daughter,

[00:40:42] but she's also like, she's great.

[00:40:46] And she brings that same level of a really committed good actor

[00:40:52] applying that level of craft to these slasher movies.

[00:40:58] And that's what she did.

[00:40:59] Yeah, yeah, she's great.

[00:41:01] And she and a very, very sweet person in real life.

[00:41:25] Yeah, yeah, she's great. And she and a very, very sweet person in real life. And, and that sort of thing. That sort of quality of taking the uncommon level of quality and applying it to the thing that could coast on just being a B movie or could coast and just being an exploitation movie. without defeating it, without elevating it,

[00:41:29] without making it not the thing that you would enjoy, those prurient, you know,

[00:41:30] I watch these movies for sex and death kind of quality.

[00:41:35] It doesn't take away from that,

[00:41:36] but it does make everything better.

[00:41:38] It's like Kevin McCarthy

[00:41:40] starring in Invasion of the Body Snatchers.

[00:41:43] You have a method actor who was a contemporary of Brando's

[00:41:47] being the lead in a horror movie.

[00:41:49] At the second stage of his career

[00:41:50] becoming a genre favorite now.

[00:41:52] There you go.

[00:41:53] And that's the thing is that like,

[00:41:55] when you find these actors like Brad Durev,

[00:41:58] like Lance Henriksen, who despite what they're showing up in,

[00:42:02] they're going to bring it all.

[00:42:04] And now there's a new generation of people like that

[00:42:06] who are known as genre actors,

[00:42:09] and then they really show up and they commit

[00:42:11] no matter what the project is.

[00:42:12] Somebody like Doug Jones comes to mind.

[00:42:14] Where it's like you feel like every time Doug

[00:42:17] is not buried under a creature suit for grimoire.com,

[00:42:21] you can feel him taking the opportunity

[00:42:23] to really give a fully nuanced

[00:42:25] performance. I loved all the episodes he showed up on on what we do in the shadows. And and that

[00:42:32] to me is like, it's not just hey, I'm a fan, it's also, it doesn't matter what the project is, I'm

[00:42:38] going to do my best work possible. And to me that is contributing as a fan because you care about the quality of the horror movie you're in.

[00:42:49] You're not just saying, oh, that's a horror movie. Oh, I'm doing this shit for the money.

[00:42:53] Jamie Curtis in the new in the new Halloween trilogy, whatever you say about that trilogy, Jamie Lee Curtis is showing up and playing the character like she would in any Oscar-bait kind of movie. And there's something to that.

[00:43:07] People showing up for horror and really applying themselves as if it's a movie, not just a

[00:43:13] horror movie.

[00:43:16] That's why I think Chucky persists.

[00:43:17] I mean, Chris Sarandon got her next take this material very serious.

[00:43:21] Chris Sarandon in Fright Night is like as good as any performance

[00:43:25] in any movie that's like yeah there with him and dog everyone in near dark just as

[00:43:31] good your dark oh my god the bar scene in near dark is like one of those I I

[00:43:37] put that up there with citizen Kane it's so come here you go so brilliant it's

[00:43:42] like that sequence is like burned into my. It's like the train station scene in the Untouchables and the bar scene in

[00:43:48] near dark.

[00:43:49] Oh, there you go.

[00:43:50] That is quite a little cinema.

[00:43:52] Pure cinema.

[00:43:55] But the match cut in Lawrence of Arabia and the bar scene in

[00:43:59] near.

[00:44:01] Arabia now that that is 5000 stars.

[00:44:03] That's a good one.

[00:44:05] Um, so yeah, that's, I got the, it's so big.

[00:44:08] I can't put on my shelf.

[00:44:09] I've got the,

[00:44:10] Yeah.

[00:44:11] So out of all the moments, the very first child's play, I think just, just like the electricity,

[00:44:19] it's so electrical.

[00:44:20] Well, that thing I mentioned, the audience, the sound the audience made when they realized

[00:44:24] that the, that the doll was real and it was like a noise kind of like this, like, oh, like it was like,

[00:44:31] oh, wow.

[00:44:33] And right.

[00:44:34] There's something to that when there's something to

[00:44:37] And he lands a punch, however, it's coordinated.

[00:44:39] He lands a punch.

[00:44:40] You actually feel like he's terrorizing our, you know, detective while he's driving away in his car. You I

[00:44:47] love the whole gotcha. I'm not dead yet. But now in the

[00:44:51] apartment because any other movie would just go on too long

[00:44:54] or just make you realize how formulaic it is. And it's just

[00:44:57] the right amount of genre expectations with a few shocks

[00:45:01] and then knowing how to get done on time.

[00:45:05] And I love that there was an era of filmmaker

[00:45:07] that I kind of feel like filmmakers these days

[00:45:10] are lucky if they get the opportunity to do this.

[00:45:13] But there was an era of filmmakers who literally said,

[00:45:16] they let them play with their toys.

[00:45:18] And let's take the risk.

[00:45:20] Let's take the risk.

[00:45:21] Ridley Scott took an actor who had never been in a movie before.

[00:45:28] She got cut out of Annie Hall, but otherwise had never been in a movie before.

[00:45:33] And he put her in the cast of his movie Alien, his big giant Alien movie.

[00:45:38] So Gordon Nieweaver, yeah.

[00:45:39] And he said, everyone's gonna think that Tom Scarat's gonna be the hero, everyone's gonna see all these

[00:45:46] other actors and imagine that they're gonna live.

[00:45:49] And instead, the one actor that no one's seen before

[00:45:51] is the only one that's gonna survive.

[00:45:54] And it's gonna work because she's spelled-

[00:45:56] Before we did it with Scream,

[00:45:57] where the famous person dies in the start.

[00:45:59] That's right.

[00:46:00] But also, Scream is riffing off of Psycho.

[00:46:03] Yeah.

[00:46:04] And it's like the most famous person gets killed off. I'm talking

[00:46:06] beyond her doesn't person a person no one has seen before is

[00:46:10] gonna be the only one that we can root for. And the balls on

[00:46:16] that guy to risk that whole thing. And he was right. She's

[00:46:20] amazing. She's a yeah, actor. She's the new. And so that ability to risk, it's like, listen,

[00:46:27] people are going to freak out when it turns out

[00:46:29] that this doll is alive.

[00:46:31] Let's freak them out. This is going to be great.

[00:46:33] Let's do it. Let's do it.

[00:46:35] And I do feel like a lot of movies these days

[00:46:39] that are made by committee,

[00:46:41] it's like you can either see where they're going

[00:46:44] or they go in 14 different directions every step of the way so they never feel like anything. that are made by committee. It's like you can either see where they're going

[00:46:45] or they go in 14 different directions every step of the way

[00:46:48] so they never feel like anything.

[00:46:49] We're missing the kind of filmmaking

[00:46:51] where we're building up to a moment.

[00:46:54] And I think it's kind of gotten turned into twist filmmaking,

[00:46:58] you know, very Shyamalan, very riffing off the sixth sense

[00:47:02] where it's like we're building to the twist.

[00:47:03] It's like, no, don't build to the twist, build to the turn.

[00:47:08] The turn of events, not the chain.

[00:47:11] Exactly.

[00:47:12] The turn is that the dolls alive.

[00:47:14] And that changes everything.

[00:47:16] It's not the twist of like, you didn't see that coming.

[00:47:18] It's that's the turn that has alive.

[00:47:21] And they do have good ideas.

[00:47:23] Even when they're not realized.

[00:47:25] Like part two has some interesting set design and commentary on Chuckie.

[00:47:30] The abusive doll is able to kill the abuser. Uh, part three, I wish those, I wish those Marines he was terrorizing could have been more like the ones in aliens where.

[00:47:40] Part three is dark as fuck. He basically manipulates a bunch of teenagers

[00:47:46] into shooting each other with real bullets.

[00:47:48] That is so dark.

[00:47:49] I watched the third one with my buddies in a garage

[00:47:53] and we were all just drinking and laughing

[00:47:55] and talking over it.

[00:47:56] And I remember shooting on that movie the whole time.

[00:47:59] Cut to this past Halloween

[00:48:01] and Liesl and I watch it together.

[00:48:03] And I'm like like this one's actually

[00:48:07] like it's dark but I enjoyed it as much as Child's Play 2 and I kind of feel like pound for pound

[00:48:15] there's there's not a dog in the series like it definitely does swings it gets more campy for

[00:48:21] Brian Chucky and then fully campy for Seed of Chucky and it gets meta and it does all these fold

[00:48:26] in pins on themselves. But when you get right down to it,

[00:48:30] watching all that stuff back to back, that's a consistently

[00:48:34] entertaining series and I think part of it is because if you

[00:48:38] want to take it seriously, I mean, it's it's gory and and

[00:48:42] all the things you want from a horror movie. If you want to say, no, this is silly, you can just laugh at it.

[00:48:48] And it kind of rides that line throughout the entire series.

[00:48:51] Even when it gets happy and meta, it invests it, you know, you kind of get

[00:48:56] in Chucky season two, you kind of get invested in the Glen and Glenda of it all.

[00:49:00] You know, that even though it's ridiculous, it could be an Ed Wood creation.

[00:49:04] If you think about it.

[00:49:04] Yeah. No. And that's that's the other crazy thing, too, is like Don Mancini You know that it even though it's ridiculous. It could be an Ed Wood creation if you think about it Yeah

[00:49:05] No

[00:49:05] And that's that's the other crazy thing too is like Don Mancini finding a way to bring in what influenced him and one of the things

[00:49:11] That was Ed Wood. Yeah

[00:49:13] I mean I I gotta tell you man cuz like think about any other series like that, you know

[00:49:18] Certainly not Texas Chainsaw that goes off the rails and people can't even take any kind of serious

[00:49:26] Yeah, or like

[00:49:31] Friday 13th the Friday 13th movies you have like a weird duology

[00:49:38] Through them where they kind of have a call and response worse than the Star Trek even in odd roll. It's like what yeah

[00:49:42] Yeah, this is my personal trilogy. This is mine

[00:49:47] So in so in my cut of the galaxy quest doc over the end credits, we have Scott Mance saying Galaxy Quest is owned by Paramount.

[00:49:52] Yes, they could make a box set of Star Trek and Galaxy Quest is in there

[00:49:56] and then you see it figure it out.

[00:49:57] He goes wait, wait, when did Galaxy Quest come out?

[00:49:59] Okay, it came out in 99.

[00:50:00] It came out in 99.

[00:50:02] So it came out after Star Trek Insurrection and before Star Trek Nemesis, oh my god,

[00:50:08] Galaxy Quest is the even numbered Star Trek movie

[00:50:11] that throws off the whole curve because Insurrection is bad

[00:50:15] and then Galaxy Quest is great and then Nemesis is bad

[00:50:18] and then the original JJ Abrams Star Trek is great

[00:50:21] and then Into Darkness is bad

[00:50:22] and then Star Trek Beyond is good and you're like and he goes through and he does the math

[00:50:28] now of course you can make the argument that um none of the JJ Abrams Star Trek books are any good

[00:50:33] but and you could also make the argument that Nemesis and Insurrection are underrated

[00:50:37] but I love that even Star Trek 3 but yeah it is interesting how the odds evens

[00:50:41] yeah Star Trek 3 was one that I used to shit on and revisiting it recently. I'm like, this is this it feels like an absolute as good as as good as any of them. So

[00:50:50] yeah, I mean, I feel that way about a lot of series where what are you looking for?

[00:50:56] The first three Nightrun Elm Street movies are in very distinctly different ways, like a kind of

[00:51:02] horror masterpiece. And then three is so great that every movie after it is just

[00:51:07] remaking three until New Nightmare.

[00:51:10] Yeah, so you look at that and then you look at like the Jason

[00:51:13] movies where it's like there's one and two and only as good

[00:51:17] as whatever the tone is that done.

[00:51:19] Yeah, it's kind of like let's make like let's make seven

[00:51:22] more like four.

[00:51:24] Let's make you know, six more like two and you know, like they kind of like let's make like let's make seven more like four. Let's make you know six more like two and you know like they kind of have a call and

[00:51:28] response but seven fighter carry knockoff let's have him become the terminator finally.

[00:51:33] Yeah, yeah, exactly.

[00:51:34] Let's have him breathe real hard and have the shoulders move up and down.

[00:51:37] I think that was a cane choice.

[00:51:38] No, anyway, it's things like that where it's things like that.

[00:51:43] I love that.

[00:51:44] Canes like I'm wearing a hockey mask. I

[00:51:46] got nothing but my physicality. I'll just have him be breathing really hard. He's right. It's

[00:51:52] menacing. He sits there. I don't want a guy built like that looking like he's revving up to charge

[00:51:58] me. He's breathing out really hard. All I can do to inject persona. Yeah, exactly. But yeah, so I

[00:52:06] have the absolute pleasure of directing Chucky not an episode

[00:52:10] of the TV series, but I got to behind the scenes at all. Because

[00:52:14] we had Brad Duroff record lines for our show for blood and guts

[00:52:19] with Scotty and which which we used to do as an online show.

[00:52:23] And I you can find that episode on YouTube. And

[00:52:27] I have this recording of Brad Duroff's audio, and it was just for basically a promo thing.

[00:52:32] And this was after you had worked for the Associated Press and

[00:52:36] Long after that.

[00:52:38] Yeah, because all that stuff is what I did on the East Coast. I did when I-

[00:52:42] The geography and journalism. Yeah, like I remember for the TLC thing, I was sent into the suburbs of Roanoke, Virginia,

[00:52:50] basically with a camera to shoot footage of Virginian women, like older women living in

[00:53:00] Virginia who were really excited about the Royal Wedding, which I think at that point was,

[00:53:02] living in Virginia who are really excited about the Royal Wedding, which I think at that point was, um, it wasn't, uh,

[00:53:05] Harry and me and, uh, Meghan Markle yet. It was, it was, um,

[00:53:09] previous. Yeah. Yeah. It was, oh man, I'm playing. I don't,

[00:53:12] the guys who came before them. Exactly. So yeah. So that was

[00:53:15] like something I did where, and it was really nice cause it was

[00:53:18] these little old ladies who are Virginia ladies who are

[00:53:22] dressed up for a tea party because they were so excited

[00:53:24] about the Royal wedding.

[00:53:25] So like that was, I did gigs like that.

[00:53:27] I, you know, I would drive to West Virginia

[00:53:30] and shoot stuff for the AP.

[00:53:32] I would drive to Georgia, you know, one of the bigger,

[00:53:36] it was just something where like I was doing any gig

[00:53:38] that I could when I was still living in Southwest Virginia

[00:53:40] that was related to making movies.

[00:53:42] So I did all that stuff then.

[00:53:44] I wrote for the Roanoke

[00:53:45] Times. I wrote, yeah, I started writing for Fangoria when I was still living in Virginia.

[00:53:52] And then in 2011, I moved to Los Angeles. So there's sort of like a demarcation line of me

[00:53:58] doing all of that stuff and finding any way to do anything related to media. And those were like camera jobs and editing jobs

[00:54:08] that I would do freelance.

[00:54:09] And then I was also making my own movies

[00:54:11] and gaining a reputation as a DIY filmmaker.

[00:54:15] And I could have done that.

[00:54:17] I could have done that forever.

[00:54:18] I could have stayed in Southwest Virginia,

[00:54:19] but I wanted to see what happened

[00:54:20] if I threw my hat in the ring

[00:54:22] and came out here to LA and see what happens

[00:54:25] when I come to a bigger market. And that led directly to me meeting Scott Ian on the first

[00:54:30] day of our show and Scott's just been a gift to my career ever since and a good friend too. And

[00:54:38] when we got to meet Chucky, like that became that moment where because Brad Dureff recorded the lines

[00:54:44] it felt like meeting Chucky.

[00:54:46] It's like there he is. It's really Chucky.

[00:54:48] And there's a guy doing the animatronics,

[00:54:50] but it's still Brad Dureff's voice saying lines to Scott

[00:54:54] and making references to I'm the Man.

[00:54:57] And I have this recording of Brad Dureff doing the lines,

[00:55:01] investing it as if it was one of the movies,

[00:55:03] like not even skimping at all

[00:55:06] in the performance. And then there's a break where he says, and I'm going to perform,

[00:55:10] this is what it sounded like. Okay, so this is Brad Dura, if I'm recording.

[00:55:15] Well, can we pull something from the library? Well, I've done it so many times.

[00:55:21] No, I mean, it's like, do I have to do it now? Or is there something? No, listen, I'll do it.

[00:55:26] I'm just saying if I don't have to, because I don't want to blow my voice out or anything.

[00:55:30] No, no, of course.

[00:55:31] I'll do it.

[00:55:32] I'll do it.

[00:55:33] Yeah, yeah, yeah.

[00:55:34] Okay.

[00:55:35] Okay.

[00:55:36] And that's the recording.

[00:55:40] It was him having, it was one side of the conversation with like an engineer or somebody

[00:55:44] saying, do I have to do the laugh?

[00:55:48] This piece of audio

[00:55:50] And he did the Chucky laugh for us and then in our episode you hear it you hear the Chucky laugh with as like I said as

[00:55:58] invested as in any of the movies so

[00:56:00] so God bless you Brad Dureff and I and I thanked him in person and I thanked Fiona and

[00:56:06] when I met her and it's just one of those things of like thanks for showing up for our

[00:56:11] silly little web series that we're talking about practical effects, so

[00:56:16] I feel I feel a

[00:56:18] Specific pride that even though I haven't when I say I've directed Chucky

[00:56:22] I don't mean the show but I have gotten the opportunity to direct Chucky.

[00:56:25] Well, and the fact that he gave you his time,

[00:56:29] he gave it his all, and-

[00:56:32] What a guy.

[00:56:33] He gave you a warning before impacting the verbal bullet.

[00:56:37] That was his voice.

[00:56:38] That's right.

[00:56:39] There was preamble to it.

[00:56:40] You sure?

[00:56:41] All right.

[00:56:42] Now turn back.

[00:56:43] And he's such a terrific actor.

[00:56:44] I'd love the opportunity to work with him in live action and actually still time and that well, absolutely in Fiona to like Fiona's

[00:56:51] There's there's actually a recurring TV gigs. I think she'll sure I mean

[00:56:57] She was in some of the other movies too

[00:56:59] She's on a cast list for something. I want to do

[00:57:01] I think she I think she is an underrated actor and her building known so much for Chucky. It's like, you know, she's good enough that

[00:57:08] she could do anything. So the only connection I had to this franchise is I worked with the

[00:57:13] actor who played the priest in Curse of Chucky, a Martinez. Oh, hey, extra. I was an extra

[00:57:21] on this show. He was on Queen of the South, but it was just interesting because he was schooling

[00:57:25] this extra who he was going to beat up

[00:57:27] as a crooked sheriff for two episodes.

[00:57:30] And I'm like, it was a very open set compared to most sets,

[00:57:34] which are gonna say, hey, get away from me, kid.

[00:57:36] You know, you shouldn't be talking to the top,

[00:57:37] but I just love how he's mentoring this guy

[00:57:40] and finding the idea of how to stage this.

[00:57:43] I'm like, see, that's cool.

[00:57:44] That's commitment. That's's cool. That's commitment.

[00:57:45] That's mentoring.

[00:57:46] That's awesome.

[00:57:47] Cause I see so many other people who are.

[00:57:48] That's great.

[00:57:50] There were so many other people who weren't happy to be

[00:57:51] on that show.

[00:57:52] So it was just cool to see someone who's like,

[00:57:54] Hey, good, bad, going to do the best.

[00:57:56] I'm going to be the brightest, brightest star in that room.

[00:57:59] So.

[00:58:00] Well, and he, and you know, you, you mentioned Ray Wise

[00:58:04] earlier and it's like that those character actors

[00:58:07] who seem just happy to be there

[00:58:09] and seem happy to be working,

[00:58:10] but then in a way that they're setting the tone for the set

[00:58:15] because they're coming in and they're like,

[00:58:18] if they're professional

[00:58:19] and they bring their positivity to it.

[00:58:22] Instead of just letting everyone get them down.

[00:58:26] Yeah.

[00:58:27] Well, it's like people at conventions

[00:58:29] who give everybody a hard time.

[00:58:31] It's like, those are the people who are hanging on

[00:58:33] to the thing that they did,

[00:58:34] versus the people who just really like doing it.

[00:58:37] And they really like showing up.

[00:58:38] And, you know, A. Martinez, like, you know,

[00:58:40] he's been on Darkwinds and, you know,

[00:58:41] he's got a nice vibrant career.

[00:58:44] That is a good show. Yeah, and he's a good actor. And it's that kind of thing of like, so there's a guy who didn't have to give somebody his time and then dead because he, he probably remembers how hard it is, you know, for himself and

[00:58:57] I don't know, I think because he's consistently worked. He's always been fortunate enough to be one of those guys to not be overshadowed

[00:59:08] by any other thing. And I get it. There's so many of these actors who you see, hey, you know, because

[00:59:12] I made it, I don't have to brush up on my acting anymore. So I might potentially, you know, get

[00:59:18] worse as an actor, the more famous I get. And then there's other ones who just always have a cool

[00:59:23] routine, they have gotten it through their thick head that, you know, in addition to fame and fortune,

[00:59:28] you are still representing a business brand and you've got to keep marketing it.

[00:59:33] Yeah. Yeah. And people think of themselves as a franchise or people who are less interested in.

[00:59:41] Get along with everybody now as opposed to never.

[00:59:43] Right. That's right.

[00:59:45] And and and that's the other thing too.

[00:59:47] We're all going to be around for a long time.

[00:59:48] So this director did a good job,

[00:59:50] but he doesn't get the show or me or anyone else.

[00:59:52] So let's get rid of him after the season.

[00:59:55] Well, but then but then also it's like,

[00:59:57] who do you work well with?

[00:59:58] And and some people, you know,

[01:00:00] some people are really

[01:00:01] six hour days are great.

[01:00:03] 12 hour days. not so much.

[01:00:05] Some people are really toxic

[01:00:06] and they like being surrounded by toxic people

[01:00:08] because then they feel better about how toxic they are.

[01:00:10] They're insecure.

[01:00:12] And you're like, stay away from that set.

[01:00:14] And then, but all it takes is one,

[01:00:15] all it takes is one asshole to sink a set,

[01:00:17] but that's why that's why that thing you said

[01:00:21] about the good team.

[01:00:22] It's like, I have the people that I really like working with.

[01:00:25] And then I love working with new people and, and you know, seeing, seeing

[01:00:28] what happens when I bring somebody new into the mix, I'm glad no one is,

[01:00:33] I'm glad no one has shed on your parade.

[01:00:36] Well, I mean, they have like pretty, but not to the point where you're just

[01:00:39] like, I disown half the shit I've been working on for this particular era.

[01:00:43] You know, I feel like a big part of your job

[01:00:47] as somebody who's navigating this topsy-turvy crazy business

[01:00:51] is you gotta constantly be in a state of remembering

[01:00:54] that we're all doing this

[01:00:56] because we didn't wanna do an office job.

[01:00:58] We're all doing this because the whatever shape that we are,

[01:01:03] it doesn't fit into this peg, it fits into this peg, you know, it doesn't. So if I'm if I'm a square peg, you know, I got to going to pretend that I don't deserve it, because I worked very hard for

[01:01:25] it. But I but I also am only going to be in positions of

[01:01:31] saying, this is great, I get to make movies, this is great. Any

[01:01:35] time I get to work, this is great. You know, and I've done a

[01:01:38] couple of jobs just for money that you know, I have been kind

[01:01:41] of hard, because the only thing carrying me through is like, I

[01:01:44] got to get that paycheck.

[01:01:45] But never in the creative space,

[01:01:48] that's only been in the sort of film workers space,

[01:01:51] in the crew member space, that kind of thing.

[01:01:54] Whenever I've gotten the job to direct,

[01:01:55] I always sleep better that night.

[01:01:57] I always go home feeling great because even when it was

[01:02:01] stuff that was as easy to direct

[01:02:03] as like the concert films I did,

[01:02:06] those, I mean, basically what I got to do

[01:02:09] was a lot of prep and then watch a concert.

[01:02:12] And, you know, I still did all the posts

[01:02:16] and everything too.

[01:02:17] And my voice is definitely in even those movies.

[01:02:20] And certainly my sensibilities are,

[01:02:21] and my amazing DP, Mike Mogadon,

[01:02:24] who shot both of those concert films,

[01:02:26] that's his work all over the place.

[01:02:28] And it's what we're passionate about.

[01:02:30] And I love the bands.

[01:02:32] And, but at the end of the day,

[01:02:33] it's sort of like my job was the easy part.

[01:02:38] My job was to show up and be the audience member

[01:02:40] who happened to have all these cameras.

[01:02:42] You know, when I get that opportunity, that's.

[01:02:47] Whether it deserves it or not, it's it's only good fortune

[01:02:50] to be able to do that kind of job. Yep. Yeah.

[01:02:54] And I and I remember that I got to remember that, you know,

[01:02:58] I I stoked the flame of being you mentioned before

[01:03:01] something about creators who are fans.

[01:03:03] We all started as fans.

[01:03:05] Yes, we did.

[01:03:06] And we move into creating because, you know,

[01:03:11] what else were we gonna do?

[01:03:12] That was definitely not anything else.

[01:03:15] That was the typical generic expectation.

[01:03:18] Yeah.

[01:03:19] And kudos to Chucky for doing the same thing.

[01:03:21] You know, I just-

[01:03:22] No one has encouraged me to make movies in my life, except the movies.

[01:03:27] You know, seeing there are there are icons for a reason. Yeah,

[01:03:31] there you go.

[01:03:33] Just like all our heroes are dead. All our icons are

[01:03:36] fictional.

[01:03:38] Well, some friends are on screen.

[01:03:41] So my some of my heroes and best friends are in real life. And

[01:03:44] that's,

[01:03:45] there's always someone that is bigger than life because of how well that fiction is rooted.

[01:03:52] Well, I'll tell you what, man, Harry Dean Sandin may be my favorite actor of all time.

[01:03:57] He was a giant on screen and then I met him.

[01:04:00] And even though he was a little old man, when I met him, he was a giant in person too.

[01:04:04] So nice.

[01:04:05] And so is and so is Sigourney.

[01:04:07] And so was all all the people I've had the pleasure of meeting.

[01:04:10] I haven't I to this day have not had a disappointing experience meeting one of the people who inspired

[01:04:16] me.

[01:04:17] It's lovely, man.

[01:04:18] Yeah.

[01:04:19] Yeah.

[01:04:20] And now that I've said that it'll happen tomorrow.

[01:04:23] Let's count on it.

[01:04:24] Yeah. Well, this is what I. Let's count on it. Yeah.

[01:04:28] Well, it's been talking to you, man.

[01:04:29] Absolutely. You have glammed up the place.

[01:04:32] This rocket ship never stopped firing on all cylinders.

[01:04:35] So that's great.

[01:04:36] I don't remember anything I said.

[01:04:38] Will you send it to me?

[01:04:40] Totally.

[01:04:47] Do you sign off or anything or is there?

[01:04:49] No, I'll sign off for you. But, um, thank you ever so much for just giving an expose in your show. Just any tips and tricks before we go on just how anyone can get involved because I see so many people that are afraid to even do the simplest things like look at a YouTube tutorial and establish their own formula shotless guy shot script guy storyboard guy you know just

[01:05:12] come up with ideas in our contest instead of just lying around complaining i could do that but don't

[01:05:18] follow up you're hitting the nail in the head and i can only speak from my experience and my

[01:05:23] experience is i was living in Southwest Virginia.

[01:05:26] When I went to school, there was no film program

[01:05:29] at the school at the time.

[01:05:30] It was film analysis classes,

[01:05:32] but there were no film production.

[01:05:33] There was one film production class

[01:05:36] taught by an amazing guy named Jerry Scheler

[01:05:38] who's no longer with us and who was,

[01:05:39] you know, one of the big influences on my life.

[01:05:42] And then the other film professor was Steven Prince,

[01:05:45] who's also no longer with us.

[01:05:46] And you can hear him on a bunch of Kurosawa

[01:05:49] criterion blue rays.

[01:05:51] And he wrote the book on Kurosawa,

[01:05:52] he wrote the book on Sam Peckinpah as well.

[01:05:56] And so those guys were influences on me

[01:06:00] and taught me a lot.

[01:06:00] And Jerry in particular taught me a lot

[01:06:03] about approaching art,

[01:06:04] but also Jerry taught me that the best way to learn is to do it. And I started doing it.

[01:06:12] And like I said, there was no money and nobody was encouraging me and nobody was saying,

[01:06:15] Hey, this is a great idea. You should make movies. And I in 1998 started my first real

[01:06:22] attempt to make a feature film. a bit of a bit of a

[01:06:25] bit of a

[01:06:26] bit of a

[01:06:27] bit of a

[01:06:28] bit of a

[01:06:29] bit of a

[01:06:30] bit of a

[01:06:31] bit of a

[01:06:32] bit of a

[01:06:33] bit of a

[01:06:34] bit of a

[01:06:35] bit of a

[01:06:36] bit of a

[01:06:37] bit of a

[01:06:38] bit of a

[01:06:39] bit of a

[01:06:40] bit of a

[01:06:41] bit of a

[01:06:42] bit of a

[01:06:43] bit of a

[01:06:44] bit of a bit of a bit of a bit of a bit of a done. Sweet. Any day now I'm gonna finish that. Any day now.

[01:06:45] But um but no but seriously I made a movie and it didn't really

[01:06:49] work so I said this can't be the last movie I made so I made

[01:06:52] another movie. That one worked better but I made new

[01:06:55] mistakes so I made a third movie. You can't make up for the

[01:06:58] mistakes. And I kept doing that until today. You know like it

[01:07:03] just has continued. That has been the beginning of my career.

[01:07:07] By my fourth or fifth movie,

[01:07:08] I was getting into local film festivals.

[01:07:10] By my eighth movie,

[01:07:11] I was getting into international film festivals.

[01:07:13] And now here I am,

[01:07:15] and I just had a movie play at the Chinese theater.

[01:07:18] I just had a short that I directed,

[01:07:20] a good scream play at a Chinese theater.

[01:07:22] And that's a movie that I produced

[01:07:24] with the lead actress,

[01:07:26] Finis Sanchez, who also wrote it.

[01:07:28] And that started with, I read her script that she wrote

[01:07:32] and I said, hey, I'd like to make this movie.

[01:07:34] And she was like, really?

[01:07:35] And then that turned into making this movie

[01:07:38] that has had this festival run

[01:07:40] and she's brilliant in the movie

[01:07:41] and everybody who sees it is talking about

[01:07:43] how great she is.

[01:07:44] And that's like, that just started with who sees it is talking about how great she is and that's like

[01:07:46] That just started with me saying hey, I like your script. I want to make this movie

[01:07:51] and

[01:07:52] That I think it's as easy as that you can't expect the reward to be that

[01:07:58] You can't be like, you know final winning. Uh

[01:08:01] A uh best actress award at one of the fest or us being or us winning a best short award at one of the fest You know things winning a Best Short award at one of the fasts,

[01:08:06] things like that. That's not the reason why we did it. And it's wonderful that that happened.

[01:08:11] But the reason we did it is because we wanted to do it. We wanted to make a movie and not wait for

[01:08:17] someone to say, now you get to make a movie. So it's not about the reward, it's about the doing it.

[01:08:25] And if you really want to do it,

[01:08:27] find a way to do it.

[01:08:28] The bigger picture, I love it.

[01:08:30] And that's what I did with a borrowed standard

[01:08:33] deaf camera shooting on mini DV all the way back in 1999.

[01:08:38] And then I come out here to LA and there are a handful

[01:08:40] of people that did the exact same thing.

[01:08:42] My buddy Josh Miller made a movie like that with the exact same

[01:08:46] camera that I used. And his movie that he made back then

[01:08:50] with his his writing partner Pat Casey just got released on

[01:08:55] Blu Ray. In the in the wake of the success that they've enjoyed

[01:08:59] as the writers of the Sonic the Hedgehog movies and so those

[01:09:04] guys started in out there in the

[01:09:06] Midwest making a movie with the Canon XL1, the same mini-dv camera that I was using at Virginia

[01:09:14] Tech to make my first movie. So this is not just my story. This is people who are creative and you

[01:09:22] can't stop their creativity. You find the way. you find the way to make a movie and then every movie is an experience you learn from.

[01:09:29] And hopefully, there are memories you always bring up time and again instead of just being like, well, it happened, you know.

[01:09:37] Oh, yeah, my next. Exactly. My California born girlfriend, I have shown her all of my Virginia movies and often wistfully.

[01:09:50] It's like, I remember this, I remember that. In this movie is a location that doesn't exist anymore and I have a record of it because I filmed in it, you know, that's the only advice I have is, listen,

[01:10:05] nobody's stopping you but yourself.

[01:10:07] And if you think the only way you can make a movie

[01:10:10] is by other people giving you a lot of money

[01:10:12] to make the movie with, I got great advice for you.

[01:10:16] Start right now with no money.

[01:10:18] Find a camera, even if it's on your phone.

[01:10:20] Good Lord, the technology is amazing now.

[01:10:23] You can, on your phone replicate like really sophisticated camera lenses, and

[01:10:28] you can get really good audio. And my buddy, Buzz Wallach does

[01:10:32] a thing called just scare me out here in LA. And he was shooting

[01:10:36] on his iPhone. And they look beautiful, these movies. And we

[01:10:39] did a couple of those. Our mutual friend Andrew cash

[01:10:43] directed one that I'm in with my girlfriend, Liesel. And he just came over

[01:10:47] to my apartment shot it with his iPhone and it looks beautiful.

[01:10:50] It looks you know, it's, it's not even Yeah, what I'm trying to

[01:10:54] say is, yeah, we all want to make movies with the Alexa and

[01:10:57] anamorphic lenses. But if you don't have that, make it with

[01:11:00] your phone. There's no excuse not to try to make a movie.

[01:11:05] So, well, and that is it. I see so many are like if I had this many million dollars is like, well, here's the thing.

[01:11:15] You still got to be able to compensate for everything because if you're going to just use money to cover up your mistakes then you're really not suited for this and I just see so many many of that saying, I can't do that without this. I'm like, Yes, you can.

[01:11:26] There are so many good movies that were made for not enough money.

[01:11:30] That you realize that no movie ever has enough money. That's one to not enough money is not an

[01:11:37] excuse for not a good movie. Unless the only reason you're watching movies is to see things that are expensive. Bingo.

[01:11:47] And that is it. Yeah.

[01:11:48] It's ultimately, if it's being used to cover up an already just non-existent plot,

[01:11:54] then you're already in the wrong business.

[01:11:56] Yeah.

[01:11:57] Yeah.

[01:11:57] But, you know, I don't know.

[01:11:59] Like I said, I like all kinds of movies and I like to watch all kinds of movies.

[01:12:04] You do?

[01:12:04] No, I'm just kidding.

[01:12:05] And that includes movies where there's no plot.

[01:12:11] I don't know if I'm, I don't know if I'm gonna sit there

[01:12:13] and watch all of Andy Warhol's skyscraper,

[01:12:15] but I'm just saying, there's a lot of different kinds of-

[01:12:17] We all set our limits.

[01:12:19] We do all set our limits to each their own.

[01:12:26] That's murder ado.

[01:12:28] Always a delight.

[01:12:29] You're welcome back anytime.

[01:12:30] Mode anything, but you'd be safe out there and don't let any of the political,

[01:12:35] social or disease troubles of the world get you down.

[01:12:40] That's good advice for all of us, man.

[01:12:41] Thank you.

[01:12:42] I really appreciate it.

[01:12:45] Yes. Live long and prosper.

[01:12:46] Yeah, doing it with both hands.

[01:12:48] By Graff Thoris hammer. What a

[01:12:53] I buy that for a dollar.

[01:12:57] Jack Bennett, leave.

[01:12:59] Jack Bennett.

[01:13:00] Lee.

[01:13:02] I would pay to see you.

[01:13:04] You got to you got to be in like a horror movie as a guy who kills Slasher or you got to be in an

[01:13:09] action to retract.

[01:13:10] I honestly, I drive a Toyota Matrix and my buddy told me you realize that your car is

[01:13:17] a commando reference because I'm Bennett and it's Matrix.

[01:13:21] There you go, man.

[01:13:24] Let off some steam, Bennett. Let's all steam.

[01:13:26] Let's all steam.

[01:13:27] Yeah.

[01:13:28] Yeah.

[01:13:29] Yeah.

[01:13:30] Yeah.

[01:13:31] Yeah.

[01:13:32] Yeah.

[01:13:32] Yeah.

[01:13:33] Yeah.

[01:13:34] Yeah.

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[01:13:53] It's a Jackdaw Review Show.

[01:13:56] It's a Jackdaw Review Show.

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