What does it take to make an independent horror film, and what happens when you start looking at movies differently because you're the one making them?
On this episode of The Physical Cut, I sit down with filmmaker Gare-Scare to talk about the movies, influences, and experiences that shaped his approach to filmmaking. We get into what makes a movie stick with you, the elements of filmmaking audiences don't always notice, and the realities of making independent films when budget, time, locations, and equipment aren't always on your side.
We also take a Scene Break into Fortunato's Descent, with Gare-Scare walking us through one scene from the film—from the original idea and visual approach to what was happening behind the scenes and whether the finished scene matched what he originally envisioned.
And because this is The Physical Cut, we close by talking about Hishkenstien: After Dark, which is getting both a streaming release and a Blu-ray release through CoffinMaker Video. We discuss what it means for an independent film to become a physical release and get a second life with an audience that can actually own it.
In this episode:
- Gare-Scare's path into filmmaking
- The movies that influenced his approach to film
- What makes a movie stay with you
- The overlooked elements of filmmaking
- The realities of independent horror filmmaking
- Working within creative and production limitations
- Scene Break: Inside Fortunato's Descent
- Getting independent films in front of audiences
- Festivals and the challenges of finding an audience
- Hishkenstien: After Dark and its upcoming streaming release
- The film's upcoming Blu-ray release from CoffinMaker Video
- The future of Hishkenstien, including a potential sequel/experimental art project
- Why independent filmmakers continue making movies
Follow Gare Scare on Instagram, Youtube and visit Wicker Sticks Entertainment.
Follow The Physical Cut, subscribe, and share the episode with someone who loves independent horror and physical media.
Visit our website KRPodLab.com to supoort our show by buying us a coffee.
00:00:00 --> 00:00:01 I mean, it's just like your movie is appreciated
00:00:01 --> 00:00:03 by people. You know, it's like, oh, that's a
00:00:03 --> 00:00:06 cool classic. You know, like people, they, I
00:00:06 --> 00:00:09 don't know, they take themselves too seriously.
00:00:22 --> 00:00:24 Welcome back to The Physical Cut, where films
00:00:24 --> 00:00:26 live beyond the stream. My name is Carlos, and
00:00:26 --> 00:00:30 today I'm joined by filmmaker. Gare Scare, all
00:00:30 --> 00:00:32 the way from Czech Republic. How are you doing
00:00:32 --> 00:00:35 today, Gare? I'm doing super. Just, uh, it is
00:00:35 --> 00:00:39 around 8 .30 here in the Czech Republic. Uh,
00:00:39 --> 00:00:43 end of summer, fall is tuning in. I've got my,
00:00:43 --> 00:00:47 uh, pumpkin dude here joining me to provide the
00:00:47 --> 00:00:51 light. So, feeling extra spooky. So, yeah. Yeah,
00:00:51 --> 00:00:54 we over here at The Physical Cut started spooky
00:00:54 --> 00:00:58 season early. I really hate September. But here,
00:00:58 --> 00:01:01 today we had talked on Instagram because you
00:01:01 --> 00:01:04 have two upcoming films. Basically, back to back,
00:01:04 --> 00:01:07 you have one coming out in New York during a
00:01:07 --> 00:01:10 film festival and you have an upcoming physical
00:01:10 --> 00:01:13 media release also coming up. Soon we're going
00:01:13 --> 00:01:15 to get to talk about that. But before we do,
00:01:15 --> 00:01:18 I want the audience to get to know the filmmaker
00:01:18 --> 00:01:24 behind this film. So you are creator of the company
00:01:24 --> 00:01:26 Wicker Sticks Entertainment. Can you tell me
00:01:26 --> 00:01:28 a little bit about the company and the idea behind
00:01:28 --> 00:01:31 it? Yeah. So, I mean, Wicker Sticks Entertainment,
00:01:31 --> 00:01:35 it's just basically, you know, the idea is to
00:01:35 --> 00:01:38 create genre films and to be as outside the box
00:01:38 --> 00:01:40 as possible and not really being afraid to just
00:01:40 --> 00:01:43 be wholly you and unique. specifically within
00:01:43 --> 00:01:47 the sci -fi, crime, horror, you know, whatever.
00:01:47 --> 00:01:52 And I like to do what I can to work with, you
00:01:52 --> 00:01:54 know, neurodiverse people or people who have
00:01:54 --> 00:01:57 mental illness. But I try to not make that the
00:01:57 --> 00:02:02 portrait of, like, what we're about. But it's
00:02:02 --> 00:02:05 more about, like, pushing an effort to try and,
00:02:05 --> 00:02:08 like, work with people in that category. Because
00:02:08 --> 00:02:11 I don't... I to me it's it's it's less about
00:02:11 --> 00:02:13 like because a lot of the time when you see things
00:02:13 --> 00:02:15 like oh we're all about like inclusivity but
00:02:15 --> 00:02:17 like they make it only about that you know and
00:02:17 --> 00:02:19 then it becomes like well like are you taking
00:02:19 --> 00:02:22 away like the creative efforts of this person
00:02:22 --> 00:02:25 are you just platforming them because of like
00:02:25 --> 00:02:27 they identify as this or whatever and to me it's
00:02:27 --> 00:02:29 like or they have this or they have some kind
00:02:29 --> 00:02:31 of disability and to me it's like it's more about
00:02:31 --> 00:02:34 what you have to offer as a talent and then you
00:02:34 --> 00:02:36 know if you have that and you happen to have
00:02:36 --> 00:02:39 that and then it's even better right it's a new
00:02:39 --> 00:02:42 form of inclusion you know but it's all about
00:02:42 --> 00:02:45 like i don't want to be patronizing to anybody
00:02:45 --> 00:02:47 you know and i think sometimes things can come
00:02:47 --> 00:02:51 across as patronizing and uh yeah just also really
00:02:51 --> 00:02:55 pushing um the idea of bringing back older films
00:02:55 --> 00:02:58 and presenting them in a new light which is why
00:02:58 --> 00:03:00 I've hosted various event coordination -type
00:03:00 --> 00:03:03 ceremonies with companies like Troma and, you
00:03:03 --> 00:03:05 know, Something Weird Video and a couple other
00:03:05 --> 00:03:07 things here on the horizon. I like to bring older
00:03:07 --> 00:03:10 movies and present them in a new light akin to
00:03:10 --> 00:03:13 directors like William Castle. who's probably
00:03:13 --> 00:03:15 my biggest inspiration from a filmmaking perspective
00:03:15 --> 00:03:18 and from the side of being entertainer next to
00:03:18 --> 00:03:20 Alice Cooper. If I could put two together, it'd
00:03:20 --> 00:03:23 be Alice Cooper, William Castle. And then I hope
00:03:23 --> 00:03:26 that I can, you know, somehow pay homage to both
00:03:26 --> 00:03:29 of them in whatever way that I can. So yeah,
00:03:29 --> 00:03:32 both entertainers at the end of the day and showmen.
00:03:32 --> 00:03:36 So that's what I try and do. No, I totally agree
00:03:36 --> 00:03:39 with the part when you also mentioned about people
00:03:39 --> 00:03:41 with that are not just, you know, necessarily.
00:03:42 --> 00:03:45 actors who are on the spectrum or neurodivergent.
00:03:45 --> 00:03:48 But like you said, it's not about making their
00:03:48 --> 00:03:54 situation personally into a shtick. Like you
00:03:54 --> 00:03:57 said, it's about, oh, this is who you are. No,
00:03:57 --> 00:04:01 this is what I have. It's not who I am. And just
00:04:01 --> 00:04:05 recently I interviewed, I was having a collaboration
00:04:05 --> 00:04:08 with Jenny from The Crib. She's a podcaster from
00:04:08 --> 00:04:12 Spain and she's a horror content creator. And
00:04:12 --> 00:04:14 her and her sister were diagnosed with adult
00:04:14 --> 00:04:19 ADHD. And, you know, they don't make it their
00:04:19 --> 00:04:23 personality, but they take what they know and,
00:04:23 --> 00:04:26 you know, what they go through and apply it to
00:04:26 --> 00:04:29 horror. So it was a very interesting take that
00:04:29 --> 00:04:33 it's like, we have this diagnosis. But this is
00:04:33 --> 00:04:36 not who we are. And we can enjoy horror, but
00:04:36 --> 00:04:39 when we're enjoying horror, we are looking at
00:04:39 --> 00:04:43 it from this perspective of ADHD. And it was
00:04:43 --> 00:04:45 such an interesting idea. And that's why I sat
00:04:45 --> 00:04:49 down to talk to her. And I do love people who
00:04:49 --> 00:04:54 not just want to bring back older films, but
00:04:54 --> 00:04:57 at least present them to a new audience. And
00:04:57 --> 00:04:59 that's something that I always applaud because
00:04:59 --> 00:05:02 a lot of people just... go by what's new and
00:05:02 --> 00:05:04 especially younger people are the ones doing
00:05:04 --> 00:05:07 this i feel like other other people just kind
00:05:07 --> 00:05:11 of gave up absolutely and i think that you know
00:05:11 --> 00:05:14 that sentiment is something i hope that a lot
00:05:14 --> 00:05:17 of people can kind of i guess see or connect
00:05:17 --> 00:05:21 with because a lot of these older films you know
00:05:21 --> 00:05:24 they might have more of a sentimental value to
00:05:24 --> 00:05:27 people And to me, it kind of ties back to why
00:05:27 --> 00:05:29 I like film to begin with, because film is like
00:05:29 --> 00:05:33 it's a time capsule. So, you know, you're creating
00:05:33 --> 00:05:35 something in one period of time. It's going to
00:05:35 --> 00:05:37 sit there and it'll represent whatever the fears,
00:05:38 --> 00:05:40 you know, with that, you know, current zeitgeist
00:05:40 --> 00:05:42 or whatever people are going through. Or, you
00:05:42 --> 00:05:43 know, if it's something political, you know,
00:05:43 --> 00:05:45 like the movie Network in the 70s, like what
00:05:45 --> 00:05:50 people were feeling post Watergate, for instance,
00:05:50 --> 00:05:52 or movies like Red Dawn during the Cold War.
00:05:53 --> 00:05:57 in the 1980s so i think that like you know these
00:05:57 --> 00:05:59 films will come back and they'll find ways of
00:05:59 --> 00:06:02 being appreciated somehow again in the future
00:06:02 --> 00:06:04 you know it's like when i talk about how history
00:06:04 --> 00:06:07 repeats itself and finds new ways of becoming
00:06:07 --> 00:06:11 more relevant as time goes on uh especially silent
00:06:11 --> 00:06:15 films uh i have the most fun with like wanting
00:06:15 --> 00:06:18 to re -watch and represent silent films There
00:06:18 --> 00:06:20 is something that I'm currently working on that
00:06:20 --> 00:06:23 is a very large project that involves a silent
00:06:23 --> 00:06:25 film that I cannot wait to share with people.
00:06:26 --> 00:06:29 But yeah, to me, it's like, how can that not
00:06:29 --> 00:06:33 just be repackaged, but how can it mean something
00:06:33 --> 00:06:37 to people today? And that's why I'm not totally
00:06:37 --> 00:06:40 against all movie remakes. I think there's some
00:06:40 --> 00:06:43 really good remakes that have something to say.
00:06:44 --> 00:06:46 When coming out again, we would never have something
00:06:46 --> 00:06:49 like John Carpenter's The Thing akin to The Thing
00:06:49 --> 00:06:51 from Another World. Those are both different
00:06:51 --> 00:06:55 movies of different times, very similar. Even
00:06:55 --> 00:06:58 Evil Dead and Evil Dead 2013, they came out at
00:06:58 --> 00:07:01 different times. Evil Dead 1981 is very much
00:07:01 --> 00:07:03 a campy cult movie, and then you have the 2013
00:07:03 --> 00:07:06 one, which is almost like walking into a live
00:07:06 --> 00:07:08 -action black metal album cover. It's like they
00:07:08 --> 00:07:10 have different aesthetics, different feelings.
00:07:11 --> 00:07:13 i'm not totally against it i just think is if
00:07:13 --> 00:07:16 if it's kept relevant and it makes sense and
00:07:16 --> 00:07:17 it means something to that future generation
00:07:17 --> 00:07:20 then the movie and the art is going to find a
00:07:20 --> 00:07:25 way to live on so yeah basically you your knowledge
00:07:25 --> 00:07:28 of a film is pretty good because we were talking
00:07:28 --> 00:07:31 earlier before we started recording and bringing
00:07:31 --> 00:07:33 up the network is a good example of some i don't
00:07:33 --> 00:07:36 think the network should be done uh remade just
00:07:36 --> 00:07:38 because it still kind of reflects the society
00:07:38 --> 00:07:41 we are today so i don't think some of those films
00:07:41 --> 00:07:44 need a remake necessarily they they still hold
00:07:44 --> 00:07:48 up but you as a filmmaker what was the moment
00:07:48 --> 00:07:52 or what was the movie that made you want to create
00:07:52 --> 00:07:58 films um It's tricky because I would say it started
00:07:58 --> 00:08:01 as early on when my dad showed me Jaws when I
00:08:01 --> 00:08:04 was three years old and my mom was insanely angry
00:08:04 --> 00:08:08 at him for it. That's good parenting. Well, my
00:08:08 --> 00:08:11 dad knew that I loved the ocean and because my
00:08:11 --> 00:08:14 dad is a commercial fisherman in Alaska for a
00:08:14 --> 00:08:17 really long time. and he knew how much i loved
00:08:17 --> 00:08:20 sharks and you know he wasn't thinking it wasn't
00:08:20 --> 00:08:22 like a big deal and to me it's like apparently
00:08:22 --> 00:08:24 it was pretty traumatizing to me back then that's
00:08:24 --> 00:08:26 what they both say but i don't remember that
00:08:26 --> 00:08:29 but to me it's like jaws ever since like i was
00:08:29 --> 00:08:31 a kid has been something that has just been like
00:08:31 --> 00:08:35 so personal and close to me because i love nautical
00:08:35 --> 00:08:39 stories i don't just love like horror you know
00:08:39 --> 00:08:42 slasher all that like to me like uh what made
00:08:42 --> 00:08:46 me want to get into film is like monster movies
00:08:46 --> 00:08:48 you know and to me it's not even about horror
00:08:48 --> 00:08:52 because horror to me sometimes loses it when
00:08:52 --> 00:08:56 it loses the fact that it's still a movie I like
00:08:56 --> 00:08:58 movies that know that they're movies and I don't
00:08:58 --> 00:09:00 particularly like watching films that are like
00:09:00 --> 00:09:05 cruel or have like torture or really gross stuff
00:09:05 --> 00:09:09 in it you know like irreversible like Serbian
00:09:09 --> 00:09:11 film or stuff like that you know that's not for
00:09:11 --> 00:09:14 me I don't even really like to about as far as
00:09:14 --> 00:09:17 i can go in that direction like saw maybe but
00:09:17 --> 00:09:19 like even for me like those movies sometimes
00:09:19 --> 00:09:23 can be too much like to me i'm more like i really
00:09:23 --> 00:09:26 love like the classic monster stuff like i love
00:09:26 --> 00:09:30 the universal monsters i love um the giant gila
00:09:30 --> 00:09:33 monster an american werewolf in london uh the
00:09:33 --> 00:09:37 howling you know salem's lot uh and you know
00:09:37 --> 00:09:39 even like the 50s you know like the green slime
00:09:39 --> 00:09:43 or tarantula frankenstein meets the wolfman like
00:09:43 --> 00:09:46 that's more me what speaks to me as a filmmaker
00:09:46 --> 00:09:48 and what makes me want to create because those
00:09:48 --> 00:09:51 are you know their experiences their movies their
00:09:51 --> 00:09:55 shows and to me like going to a film and being
00:09:55 --> 00:09:58 a filmmaker being a creator i don't think a lot
00:09:58 --> 00:09:59 of people see it this way and that's totally
00:09:59 --> 00:10:02 fine but from my perspective i think your number
00:10:02 --> 00:10:05 one priority instead of inserting yourself or
00:10:05 --> 00:10:08 inserting some kind of message or you know having
00:10:08 --> 00:10:10 some kind of statement which you know like i
00:10:10 --> 00:10:12 said this is just my sentiment if somebody is
00:10:12 --> 00:10:15 paying to go see something you're creating right
00:10:15 --> 00:10:19 your number one goal should be to entertain first
00:10:19 --> 00:10:23 off my opinion is to entertain because like kind
00:10:23 --> 00:10:24 of like you know you see some guy that you know
00:10:24 --> 00:10:26 ringleader that runs a circus you've ran a bad
00:10:26 --> 00:10:30 circus right the animals all get out um the clowns
00:10:30 --> 00:10:32 are slipping and falling on their faces and not
00:10:32 --> 00:10:34 in a fun way you know and just the you know there's
00:10:34 --> 00:10:37 no organization and the guy you know catches
00:10:37 --> 00:10:39 himself on fire jumping from the fire hoop it's
00:10:39 --> 00:10:42 it's a mess right so you have you ran a bad show
00:10:42 --> 00:10:44 so i think the same thing is kind of like if
00:10:44 --> 00:10:46 you're setting out to make a movie and nobody's
00:10:46 --> 00:10:49 entertained everybody's bored uh everybody's
00:10:49 --> 00:10:51 miserable everybody's disgusted to me it's like
00:10:51 --> 00:10:54 there's a happy medium there's a happy balance
00:10:54 --> 00:10:57 and there's a way to do that while still being
00:10:58 --> 00:11:00 a movie at the end of the day. It's still a show.
00:11:00 --> 00:11:03 It's the greatest industry in the world. Honored
00:11:03 --> 00:11:08 that and creating something cool, I guess. Not
00:11:08 --> 00:11:10 to sound pretentious. I hope I don't sound pretentious.
00:11:10 --> 00:11:14 I feel like going with Universal Monsters, a
00:11:14 --> 00:11:19 lot of filmmakers do kind of like go back to
00:11:19 --> 00:11:24 that era. And it's not just because of, I would
00:11:24 --> 00:11:26 say, because they're Universal Monsters and they're
00:11:26 --> 00:11:30 a classic. I feel it's also the way that things
00:11:30 --> 00:11:33 were made. At least for me, it's like, you know,
00:11:33 --> 00:11:36 you have these big sets and you have this big
00:11:36 --> 00:11:39 production quality and the makeup and the costuming.
00:11:39 --> 00:11:42 And yeah, sometimes the scripts were here and
00:11:42 --> 00:11:45 there, you know, not all of them are, you know,
00:11:45 --> 00:11:48 Academy Award winning screenplays. But, you know,
00:11:48 --> 00:11:51 most of them, there's that atmosphere that you
00:11:51 --> 00:11:54 don't get in a lot of films today. Oh, yeah.
00:11:55 --> 00:12:00 I feel like now. Uh, 2026 is probably the one
00:12:00 --> 00:12:02 year that I would say kind of stands out in horror
00:12:02 --> 00:12:06 because I feel like not just the new filmmakers,
00:12:06 --> 00:12:10 um, but it's also not oversaturated with remakes
00:12:10 --> 00:12:13 or sequels and you get to see a different quality
00:12:13 --> 00:12:16 of horror and different ideas of horror too,
00:12:16 --> 00:12:20 because, uh, who would have thought that? Horror
00:12:20 --> 00:12:24 could be you're recording a podcast and there's
00:12:24 --> 00:12:27 shit going on around your house and you're looking
00:12:27 --> 00:12:31 for where the sound is coming from. And if you're
00:12:31 --> 00:12:35 ever listening to a movie or listen to something
00:12:35 --> 00:12:38 on your headset and you hear something within
00:12:38 --> 00:12:39 the song and you're like, wait, was that inside
00:12:39 --> 00:12:43 my house? So there's different ideas coming up
00:12:43 --> 00:12:46 that really have. made 2026 at least for me even
00:12:46 --> 00:12:48 though if the movie was good or bad that that
00:12:48 --> 00:12:51 has nothing to do with the point but it is more
00:12:51 --> 00:12:54 the ideas the new ideas that are being created
00:12:54 --> 00:12:59 today and you can just go back to like the 1930s
00:12:59 --> 00:13:03 with all these films that you know became legend
00:13:03 --> 00:13:07 basically i i know damn well that anything that
00:13:07 --> 00:13:10 i'll create because i just know that it's just
00:13:10 --> 00:13:12 what I like to do. It's subjective and, you know,
00:13:12 --> 00:13:13 about half the room is going to like it and the
00:13:13 --> 00:13:15 other half probably going to hate it, you know,
00:13:15 --> 00:13:18 but it's the same thing with, with film, you
00:13:18 --> 00:13:20 know, I think it's, it's designed to be subjective.
00:13:20 --> 00:13:22 I think if you set out to please everybody in
00:13:22 --> 00:13:25 the room, it no longer starts to feel fully like
00:13:25 --> 00:13:27 art. But like I said, it's still, you know, you're
00:13:27 --> 00:13:30 still your responsibility to be somehow entertaining,
00:13:30 --> 00:13:34 you know? So, so entertain, entertain, dance
00:13:34 --> 00:13:39 puppet. You know, I would say, I would say just
00:13:39 --> 00:13:42 keep creating because you never know what's going
00:13:42 --> 00:13:45 to hit and you know, what's going to flop. So
00:13:45 --> 00:13:47 at the end of the day, you just have to be creative
00:13:47 --> 00:13:50 and you just got to keep creating because if
00:13:50 --> 00:13:53 you're going to be bothered by every criticism,
00:13:53 --> 00:13:56 you're in the wrong industry. You really are
00:13:56 --> 00:13:58 in the wrong industry. You need a thicker stack
00:13:58 --> 00:14:00 for that because you got to get used to being
00:14:00 --> 00:14:03 told no. I'll definitely. Yeah. Or get doors
00:14:03 --> 00:14:05 slammed in your faces or people tell you that
00:14:05 --> 00:14:08 what you do is terrible. Or just also just get
00:14:08 --> 00:14:10 used to like, you can't always be friends with
00:14:10 --> 00:14:12 everybody too. That's the hard part is like,
00:14:12 --> 00:14:15 you're going to piss people off along the way.
00:14:15 --> 00:14:17 Cause that's the thing. It's like when you also
00:14:17 --> 00:14:19 work with different people, it's like learning
00:14:19 --> 00:14:21 how to work with different working styles too.
00:14:21 --> 00:14:23 You know, like sometimes you might work too fast
00:14:23 --> 00:14:25 for people or sometimes somebody's working speed.
00:14:26 --> 00:14:29 might not drive with yours or let's say like
00:14:29 --> 00:14:31 somebody's acting you know the way that they
00:14:31 --> 00:14:34 act on set might rock with you and it might not
00:14:34 --> 00:14:36 rock with you you know and it's kind of like
00:14:36 --> 00:14:38 it's almost like if you room with like your best
00:14:38 --> 00:14:39 friend like you get a roommate with your best
00:14:39 --> 00:14:41 friend and you discover like oh like can we room
00:14:41 --> 00:14:43 together you know it's just the same thing with
00:14:43 --> 00:14:45 like working with people in the industry like
00:14:45 --> 00:14:49 oh um man like i don't disrespect i don't not
00:14:49 --> 00:14:51 like you as a person but like i don't think i
00:14:51 --> 00:14:53 can work with you you know and then that might
00:14:53 --> 00:14:58 bother people you know so it's just uh you got
00:14:58 --> 00:15:01 to get used to um being okay with who you are
00:15:01 --> 00:15:04 and being okay to the best of your ability of
00:15:04 --> 00:15:06 with what you do and moving forward with it and
00:15:06 --> 00:15:09 you know just maintaining that confidence you
00:15:09 --> 00:15:12 are a young filmmaker uh what was the one thing
00:15:12 --> 00:15:16 that surprised you uh filmmaking when you started
00:15:16 --> 00:15:22 i would say maybe the idea of people wanting
00:15:22 --> 00:15:25 to be a part of like franchises you know and
00:15:25 --> 00:15:29 that's to me it's more like about the creation
00:15:29 --> 00:15:31 of something new i mean i get wanting to be a
00:15:31 --> 00:15:33 part of franchises i would love there's plenty
00:15:33 --> 00:15:35 of movies i would love to you know have my own
00:15:35 --> 00:15:40 twist on but i think uh being a young filmmaker
00:15:40 --> 00:15:42 like rather than just like wanting to jump onto
00:15:42 --> 00:15:44 something you know that's been pre -established
00:15:44 --> 00:15:47 i think it's cooler to do your own thing and
00:15:47 --> 00:15:49 make your own mark first i guess versus like
00:15:49 --> 00:15:53 jumping in to something else but i guess that's
00:15:53 --> 00:15:55 the only really like surprising thing other than
00:15:55 --> 00:15:59 you know it's really hard people will either
00:15:59 --> 00:16:01 like not appreciate or respect the fact that
00:16:01 --> 00:16:03 you choose to do this at all and just kind of
00:16:03 --> 00:16:05 think that like wow like why the fuck would you
00:16:05 --> 00:16:08 do that like that's a terrible idea versus like
00:16:08 --> 00:16:13 um just supportive people and you'll be surprised
00:16:13 --> 00:16:15 to the people that do stick around and support
00:16:15 --> 00:16:17 you versus the people that kind of distance themselves
00:16:17 --> 00:16:20 from you once you uh start really chasing what
00:16:20 --> 00:16:24 you love so yeah no there's always a people that
00:16:24 --> 00:16:28 didn't believe in you from the beginning and
00:16:28 --> 00:16:31 They kind of just, you know, brush you away and
00:16:31 --> 00:16:33 then you start working on things. And then all
00:16:33 --> 00:16:35 of a sudden the DMs start coming in and you're
00:16:35 --> 00:16:39 like, wait, didn't you not want to, you know,
00:16:39 --> 00:16:42 work before? And now it's like, all of a sudden
00:16:42 --> 00:16:43 it's like, oh yeah, by the way, I had this idea.
00:16:44 --> 00:16:47 And I'm like, yeah, sure. Send it to somebody
00:16:47 --> 00:16:50 else. That's when the transactional relationship
00:16:50 --> 00:16:53 vibes start to kick in and you realize, was I
00:16:53 --> 00:16:54 ever really friends with this person to begin
00:16:54 --> 00:16:57 with? I don't know. But, you know, don't be bitter.
00:16:58 --> 00:16:59 It's best to just kind of, you know, continue
00:16:59 --> 00:17:01 to do your thing. It's up to you whether you
00:17:01 --> 00:17:03 want to say yes or no to work with that person
00:17:03 --> 00:17:08 again. How's the perspective of watching a film
00:17:08 --> 00:17:11 now as a filmmaker? Do you sit there and you're
00:17:11 --> 00:17:13 like, well, I can do this take better than...
00:17:13 --> 00:17:16 Has it changed your perspective when you're watching
00:17:16 --> 00:17:19 a movie now? Not really. I mean, honestly, it's...
00:17:19 --> 00:17:22 filmmaking is always like the movie magic has
00:17:22 --> 00:17:24 always stayed intact for me. You know, it's the
00:17:24 --> 00:17:27 same way of like, I think in order to watch movies
00:17:27 --> 00:17:30 and create movies, like your imagination, if
00:17:30 --> 00:17:32 you're, especially if you're somebody who writes
00:17:32 --> 00:17:35 or directs films or is in any part of that, your
00:17:35 --> 00:17:38 imagination is kind of what pilots the plane.
00:17:39 --> 00:17:42 So it's really easy for you to kind of slip away
00:17:42 --> 00:17:45 and escape and do a film. I'd say like, of course,
00:17:45 --> 00:17:47 like things that might bother me like from a
00:17:47 --> 00:17:49 film before, you know, where it's like something's
00:17:49 --> 00:17:52 really impactful. It's still impactful. But like
00:17:52 --> 00:17:55 if I ever like am truly bothered by something,
00:17:55 --> 00:17:57 I get to like pause and be like, huh, let me
00:17:57 --> 00:17:59 escape from this scene for a minute and be like,
00:17:59 --> 00:18:03 I wonder how they did that. Hmm. You know, I
00:18:03 --> 00:18:05 wonder how they pulled this effect off or I wonder
00:18:05 --> 00:18:07 how this actor got to this level of emotional
00:18:07 --> 00:18:11 intensity. right so yeah yeah you'd like to uh
00:18:11 --> 00:18:14 quentin tarantino the film it's like no this
00:18:14 --> 00:18:17 is not a a one shot you see how there's an edit
00:18:17 --> 00:18:20 here dude shut the hell up shut the hell up i
00:18:20 --> 00:18:23 thought it was a one shot it was uh 1917 i think
00:18:23 --> 00:18:26 it was uh that had the very long shot and he's
00:18:26 --> 00:18:28 just complaining about it i know plenty of tarantinos
00:18:28 --> 00:18:30 it's funny because like tarantino like whenever
00:18:30 --> 00:18:33 i see him in interviews like i know tons of people
00:18:33 --> 00:18:35 in like the film world that are equally as passionate
00:18:35 --> 00:18:37 to talk that way and it is hilarious because
00:18:37 --> 00:18:39 like oh my god like it can be so insufferable
00:18:39 --> 00:18:41 but it's funny because you know they're passionate
00:18:41 --> 00:18:45 about it so at least there's that but yeah Who
00:18:45 --> 00:18:48 is it? Fiona Apple said she quit cocaine. Yeah.
00:18:49 --> 00:18:52 Thomas Anderson, Paul Thomas and him. I'm like,
00:18:52 --> 00:18:54 yeah, me too. But he's still one of my favorite
00:18:54 --> 00:18:59 directors and I do enjoy watching him talk about
00:18:59 --> 00:19:02 films and the same way that I, I love John Waters
00:19:02 --> 00:19:04 talking about films. Like you give me John Waters
00:19:04 --> 00:19:05 talking about films and I could sit there all
00:19:05 --> 00:19:09 day, especially when you're an indie filmmaker.
00:19:10 --> 00:19:14 I always recommend to go. listen to John Waters'
00:19:14 --> 00:19:17 interviews, how he started. And he is the pope
00:19:17 --> 00:19:19 of trash. Like, there's no denying that his movies
00:19:19 --> 00:19:24 hit a different vein of society that a lot of
00:19:24 --> 00:19:26 people don't like. And, oh, this is horrible.
00:19:26 --> 00:19:29 Well, that is the reality. And just because you
00:19:29 --> 00:19:32 hate it doesn't mean it's not true. And he is
00:19:32 --> 00:19:35 doing what he knows. Try to do something with
00:19:35 --> 00:19:39 $8 , $500. And if you can make something
00:19:39 --> 00:19:41 out of that, you can probably do something even
00:19:41 --> 00:19:43 better with a million dollars. I respect the
00:19:43 --> 00:19:46 hell out of creators like John Waters. You know,
00:19:46 --> 00:19:49 I really love subversive cult filmmakers. Like
00:19:49 --> 00:19:51 I love John Waters and just what his ability
00:19:51 --> 00:19:55 to do on a small budget, you know, and how he
00:19:55 --> 00:19:56 created a name for himself. And I also, you know,
00:19:56 --> 00:20:00 I'm a big fan of, of Kevin Smith and, you know,
00:20:00 --> 00:20:03 his work and not every single one of his movies
00:20:03 --> 00:20:06 are my cup of tea, but like. he's such a down
00:20:06 --> 00:20:09 -to -earth guy and just loves film and comic
00:20:09 --> 00:20:11 books and to me it's kind of like man like he
00:20:11 --> 00:20:14 gets it you know he gets the idea of like what
00:20:14 --> 00:20:18 it is to like be a entertainer to be a creator
00:20:18 --> 00:20:20 to still put your stamp on things to put your
00:20:20 --> 00:20:25 own uh i guess mark on on entertainment and do
00:20:25 --> 00:20:27 your own style but he doesn't take himself too
00:20:27 --> 00:20:30 seriously and like i get that like yeah of course
00:20:30 --> 00:20:32 like not everybody's gonna like that and i even
00:20:32 --> 00:20:34 i don't like all of his movies but i like i really
00:20:34 --> 00:20:36 like a lot of this stuff and respect the hell
00:20:36 --> 00:20:39 out of you know what he does and how he continues
00:20:39 --> 00:20:44 to work you know and that's i think any filmmaker
00:20:44 --> 00:20:47 low budget can learn from a lot of these great
00:20:47 --> 00:20:49 cult filmmakers. Yeah, you don't have to like,
00:20:49 --> 00:20:51 look, even my favorite directors, I don't like
00:20:51 --> 00:20:54 all the work. So it's not about, oh, you have
00:20:54 --> 00:20:57 to commit to someone's whole catalog of films.
00:20:57 --> 00:21:13 Not really. As a filmmaker, I know you got two
00:21:13 --> 00:21:15 films coming out. Like I mentioned at the beginning,
00:21:15 --> 00:21:18 you have one that's coming out on Blu -ray release
00:21:18 --> 00:21:20 and which we're going to be talking about towards
00:21:20 --> 00:21:22 the end. But right now I want to focus on the
00:21:22 --> 00:21:26 one that you are having. It's coming out in New
00:21:26 --> 00:21:29 York. I believe it's in October. It's various
00:21:29 --> 00:21:32 different festivals. Yeah. And it's called Fortunato's
00:21:32 --> 00:21:37 Descent, which I know for people who are of horror
00:21:37 --> 00:21:39 and genre, they're like, oh my God, that sounds
00:21:39 --> 00:21:41 like the most artistic. pretentious piece of
00:21:41 --> 00:21:45 crap but i swear it's not it's an adaptation
00:21:45 --> 00:21:48 of an edgar allen poe story so for horror lovers
00:21:48 --> 00:21:54 you know embrace uh don't don't give up uh no
00:21:54 --> 00:21:56 it's um i i chose that because it's literally
00:21:56 --> 00:22:00 the my favorite edgar allen poe story is the
00:22:00 --> 00:22:04 cask of amontillado and it's about this man this
00:22:04 --> 00:22:08 uh very psychopathic dude who takes his friend
00:22:08 --> 00:22:14 into a cellar in the catacombs and he um gets
00:22:14 --> 00:22:16 him really drunk and promises hey you know there's
00:22:16 --> 00:22:20 all this great wine down there the best manziato
00:22:20 --> 00:22:22 you know and he takes him down there and he chains
00:22:22 --> 00:22:24 him up and leaves him there and it's this drunk
00:22:24 --> 00:22:26 guy realizing slowly what his fate is and his
00:22:26 --> 00:22:28 fate is to rot down there in the catacombs for
00:22:28 --> 00:22:33 eternity so our film is the recap of that and
00:22:33 --> 00:22:37 him being left behind those tombs and his mental
00:22:37 --> 00:22:40 process of what he is going through and he starts
00:22:40 --> 00:22:43 to like rationalize why he's there and thinks
00:22:43 --> 00:22:46 that his torment is deserved and it becomes a
00:22:46 --> 00:22:49 bit of like a, you know, almost Dante's Inferno
00:22:49 --> 00:22:52 -esque, you know, heaven and hell allegory, you
00:22:52 --> 00:22:55 know, for, you know, penance and all the wicked
00:22:55 --> 00:22:58 stuff. So it's a bit fun and it's also my own
00:22:58 --> 00:23:04 personal, I guess. tribute towards a lot of like
00:23:04 --> 00:23:07 early gothic roger corman stuff you know his
00:23:07 --> 00:23:10 poe adaptations like mask of red death or uh
00:23:10 --> 00:23:13 house of usher uh pit in the pendulum i'm really
00:23:13 --> 00:23:19 into that era of film uh my boss and good friend
00:23:19 --> 00:23:22 uh lloyd kaufman of trauma was really good friends
00:23:22 --> 00:23:25 with roger corman And he told me some stories
00:23:25 --> 00:23:27 about Roger Corman. And I was kind of picking
00:23:27 --> 00:23:29 his brain when I was making this and showing
00:23:29 --> 00:23:31 him pictures and being like, do you think this
00:23:31 --> 00:23:33 is something that he would have liked? And, you
00:23:33 --> 00:23:36 know, Lloyd seemed to like it when I showed it.
00:23:36 --> 00:23:38 So, I mean, it seemed like it was a thumbs up.
00:23:38 --> 00:23:40 I'm a big lover of those films. So this film
00:23:40 --> 00:23:43 is very much a throwback to that. And I did the
00:23:43 --> 00:23:45 special effects on it. Everybody gives a super
00:23:45 --> 00:23:48 solid performance, at least in my opinion. And
00:23:48 --> 00:23:52 the gothic look and atmosphere is, we worked
00:23:52 --> 00:23:56 hard to create it. Before we continue on your
00:23:56 --> 00:23:59 film, you mentioned trauma. And I got to say,
00:23:59 --> 00:24:06 I didn't know about trauma. And there's a physical
00:24:06 --> 00:24:09 media store in Brooklyn that I kind of go to
00:24:09 --> 00:24:11 every five minutes I can whenever I want to go
00:24:11 --> 00:24:14 bankrupt. And I bought two films there. I think
00:24:14 --> 00:24:18 they had an event for Edie Miss Campbell and
00:24:18 --> 00:24:24 Tromeo and Juliet. one copy of Eating Miss Campbell,
00:24:24 --> 00:24:29 which is signed by Leon Regan. And then also
00:24:29 --> 00:24:32 Tromeo that is signed by Lloyd Kaufman. And I
00:24:32 --> 00:24:36 got to say, Tromeo and Juliet, this is the funniest
00:24:36 --> 00:24:38 shit I've ever seen. Isn't it awesome? This movie
00:24:38 --> 00:24:41 is so good. Like, honestly, I went into these
00:24:41 --> 00:24:45 blind because I didn't, I thought it was, because
00:24:45 --> 00:24:49 I love teaching Miss Tingle. And that's a very
00:24:49 --> 00:24:52 throwback for everybody from the 90s. But I'm
00:24:52 --> 00:24:54 like, Eating Miss Campbell sounds like Teaching
00:24:54 --> 00:24:56 Miss Tingle. So let me grab that one too. I haven't
00:24:56 --> 00:25:00 seen that one yet. It's by Williamson also, the
00:25:00 --> 00:25:02 one who wrote Scream. He did Teaching Miss Tingle.
00:25:02 --> 00:25:04 Actually, he wrote that before. He wrote that
00:25:04 --> 00:25:08 before and then it got made after Scream became
00:25:08 --> 00:25:12 a hit. But I sat down to watch Show Me and I
00:25:12 --> 00:25:16 did not know what the hell to expect. I had such
00:25:16 --> 00:25:17 a good time with that film. Made me want to dig
00:25:17 --> 00:25:21 more into independent cinema, B -horror especially,
00:25:22 --> 00:25:25 because I would say I might not love B -horror,
00:25:25 --> 00:25:29 but there's always something in there that makes
00:25:29 --> 00:25:33 me laugh. so much that i end up enjoying it even
00:25:33 --> 00:25:37 as good or bad as it is so and i feel like trump
00:25:37 --> 00:25:40 oh and julia was just it was fucking hysterical
00:25:40 --> 00:25:42 and i always recommend it to everyone and whenever
00:25:42 --> 00:25:45 i see a copy i'm gonna i i send it to people
00:25:45 --> 00:25:47 same thing with i forgot the name now of the
00:25:47 --> 00:25:50 movie trash humpers okay no i don't think i've
00:25:50 --> 00:25:53 heard so trash humpers is also such a fucked
00:25:53 --> 00:25:58 up movie like it's only on dvd and the quality
00:25:58 --> 00:26:03 is not great But it's just so, so messed up.
00:26:03 --> 00:26:05 If you sit down and watch that movie, I always
00:26:05 --> 00:26:07 tell people, I sent a copy to a friend of mine
00:26:07 --> 00:26:11 in LA because it is, no, no, no. He was here.
00:26:11 --> 00:26:12 I bought it. I bought it for him because I'm
00:26:12 --> 00:26:14 like, you got to buy it. You got to see this
00:26:14 --> 00:26:15 movie. And he's like, really? I was like, I'm
00:26:15 --> 00:26:16 buying it for you because you need to see this
00:26:16 --> 00:26:19 movie. And I told him, I'm like, it's not a horror
00:26:19 --> 00:26:21 movie. This is the funny thing. That movie is
00:26:21 --> 00:26:27 not a horror movie, but it is so unnerving. And
00:26:27 --> 00:26:29 all you have is just people, literally just three
00:26:29 --> 00:26:31 people going down the street, humping trash.
00:26:32 --> 00:26:34 But then when they start coming into people's
00:26:34 --> 00:26:39 houses and hanging around with them at their
00:26:39 --> 00:26:43 house, and they get into some situations that
00:26:43 --> 00:26:46 I don't want to spoil, but towards the end, there's
00:26:46 --> 00:26:49 a song they sing throughout the movie, but the
00:26:49 --> 00:26:52 song just gets creepier and creepier and creepier
00:26:52 --> 00:26:55 throughout. the movie that towards the end, I'm
00:26:55 --> 00:26:58 just kind of unnerved entirely. Like I was like,
00:26:59 --> 00:27:01 this film went where I did not think this film
00:27:01 --> 00:27:04 was going to go. Like you start with people humping
00:27:04 --> 00:27:06 trash in the middle of the street, in the middle
00:27:06 --> 00:27:09 of broad daylight. And then to that haunting
00:27:09 --> 00:27:12 finale, I was like, holy shit. That's the same
00:27:12 --> 00:27:15 guy who did Gummo. Oh, well then that makes sense.
00:27:15 --> 00:27:17 Yeah. I just like, when you were talking about
00:27:17 --> 00:27:19 trauma, I was like, that kind of like, I know
00:27:19 --> 00:27:21 it put me on a tangent there. I kind of got the
00:27:21 --> 00:27:23 idea of the kind of films that you were talking
00:27:23 --> 00:27:25 about from that. They're made in such a way that,
00:27:25 --> 00:27:28 you know, they become cult classics. And sometimes
00:27:28 --> 00:27:30 people, I don't know, people sometimes think
00:27:30 --> 00:27:33 that's an offense to a film. I mean, it's just
00:27:33 --> 00:27:35 like your movie is appreciated by people. You
00:27:35 --> 00:27:38 know, it's like, oh, it's a cult classic. You
00:27:38 --> 00:27:40 know, like people, they... I don't know. They
00:27:40 --> 00:27:59 take themselves too seriously. But going back
00:27:59 --> 00:28:02 to Fortunato's Descent, I had a chance to see
00:28:02 --> 00:28:05 it last night. And I was like, I forgot it was
00:28:05 --> 00:28:08 a short film. And then I was like... Oh, is it
00:28:08 --> 00:28:09 going to keep going? What's going to happen?
00:28:10 --> 00:28:13 Why that one? Why? How do you identify with that
00:28:13 --> 00:28:16 story? I honestly remember reading it in high
00:28:16 --> 00:28:19 school and being really creeped out by it because
00:28:19 --> 00:28:22 I'd read Poe before, but I just remember having
00:28:22 --> 00:28:24 to read that one as part of some mandatory thing.
00:28:25 --> 00:28:27 So the way, like years later, it feels like some
00:28:27 --> 00:28:30 fucked up school project. But like, I remember
00:28:30 --> 00:28:33 reading it in high school. And my English teacher
00:28:33 --> 00:28:35 is, like, you know, really insistent upon us
00:28:35 --> 00:28:38 reading it. And I remember, like, the idea of
00:28:38 --> 00:28:41 the creepy clown kind of being pioneered from
00:28:41 --> 00:28:44 this story, too. Because, you know, you have
00:28:44 --> 00:28:49 Fortunato in the jester costume, you know, being
00:28:49 --> 00:28:51 made a fool. But it's kind of that, you know,
00:28:51 --> 00:28:55 devious clown. And it was kind of implied that,
00:28:55 --> 00:28:58 you know, in the story that Montresor has this...
00:28:58 --> 00:29:01 pointy you know nose type mask you know almost
00:29:01 --> 00:29:04 like some kind of thing and we tried to do that
00:29:04 --> 00:29:06 with the mask but i wanted to go for something
00:29:06 --> 00:29:08 a little bit eyes wide shut with the look of
00:29:08 --> 00:29:10 the masks because yeah it was very venetian yeah
00:29:10 --> 00:29:14 yeah i'm glad they came off that way it definitely
00:29:14 --> 00:29:16 i was not the designer that has had the idea
00:29:16 --> 00:29:19 and i gave it to the designer and she created
00:29:19 --> 00:29:23 something really cool but um yeah i love that
00:29:23 --> 00:29:26 very you know eerie circusy venetian you know
00:29:26 --> 00:29:30 almost like moulin rouge look but i hate the
00:29:30 --> 00:29:34 movie moulin rouge so going for something that
00:29:34 --> 00:29:36 has that look you know and then going for a bit
00:29:36 --> 00:29:40 of a horror twist and um i wanted to when i was
00:29:40 --> 00:29:43 showing uh uh the people involved in the film
00:29:43 --> 00:29:46 my pitch deck you know for like presenting the
00:29:46 --> 00:29:48 idea I actually showed them a lot of visuals
00:29:48 --> 00:29:52 from Alice in Chains music videos, like Man in
00:29:52 --> 00:29:55 a Box and Down in a Hole. And I showed them some
00:29:55 --> 00:29:58 screen grabs from Alien 3, actually, because
00:29:58 --> 00:30:00 I really love the look of that movie. I'm not
00:30:00 --> 00:30:02 the biggest fan of Alien 3. I think it does a
00:30:02 --> 00:30:05 lot of stupid shit. But it's a really great,
00:30:05 --> 00:30:09 lame movie that has some really cool visuals
00:30:09 --> 00:30:12 in it. And it's really, like, visually has some
00:30:12 --> 00:30:14 of the coolest, like, world building to look
00:30:14 --> 00:30:18 at a movie. It's this dark. 90s burnt orange
00:30:18 --> 00:30:21 hellish like Dante's Inferno type landscape,
00:30:22 --> 00:30:25 which I wanted this movie to feel like that burnt
00:30:25 --> 00:30:29 orange colors and we were filming it in the fall.
00:30:29 --> 00:30:31 So I thought, okay, how appropriate, you know,
00:30:31 --> 00:30:34 it's got this Halloween edge to it. So, yeah.
00:30:34 --> 00:30:37 What location were you guys filming in? We were
00:30:37 --> 00:30:39 filming in a couple locations. We were filming
00:30:39 --> 00:30:42 in a green screen room with black lights, not
00:30:42 --> 00:30:45 black lights, excuse me, black curtains at a
00:30:45 --> 00:30:47 film institute here in the Czech Republic in
00:30:47 --> 00:30:50 Prague. And then we were also used a lot of the
00:30:50 --> 00:30:53 props from Barandov Studios and costumes. And
00:30:53 --> 00:30:56 that's the same studio where they shot Nosferatu
00:30:56 --> 00:30:58 and actually in a couple other films. But we
00:30:58 --> 00:31:02 got to use like, you know, crazy props. different
00:31:02 --> 00:31:04 materials and I did the special effects makeup
00:31:04 --> 00:31:07 and we used another place called the Prague Fear
00:31:07 --> 00:31:10 House which had this underground cavern because
00:31:10 --> 00:31:12 Prague itself has a lot of these secret underground
00:31:12 --> 00:31:17 tunnels and since we were not you know in the
00:31:17 --> 00:31:20 actual catacombs uh we had to make do with the
00:31:20 --> 00:31:23 tunnels that we had and I think they came across
00:31:23 --> 00:31:28 uh really effective and creepy um So it worked.
00:31:28 --> 00:31:31 Yeah, I actually, I actually thought it, I actually
00:31:31 --> 00:31:33 thought it was like a location, like a catacomb
00:31:33 --> 00:31:36 location. So I didn't really come out as it was.
00:31:36 --> 00:31:39 Yeah. And the blast screen that you mentioned,
00:31:39 --> 00:31:43 like I didn't really notice it. So I don't even
00:31:43 --> 00:31:46 know what scene that was. So I guess that's a
00:31:46 --> 00:31:50 good thing. So, but I do like, I do love Dante.
00:31:50 --> 00:31:52 I love the divine comedy is one of my favorite
00:31:52 --> 00:31:56 poems. And I do, I do see a lot of the elements.
00:31:57 --> 00:32:00 Of it here, obviously not just the era that it
00:32:00 --> 00:32:06 was recreating, but it did give off that vibe.
00:32:06 --> 00:32:09 So if that was the point, yeah, then it definitely
00:32:09 --> 00:32:12 did. I wanted to break up a scene since you were
00:32:12 --> 00:32:15 already talking about the catacombs. You mentioned
00:32:15 --> 00:32:18 how some of the places that you already recorded
00:32:18 --> 00:32:21 at and some of the locations that you used and
00:32:21 --> 00:32:27 costumes, but how... How did you plan this visually?
00:32:28 --> 00:32:30 At least let's take the catacomb one. How did
00:32:30 --> 00:32:34 you plan that visually and the approach of the
00:32:34 --> 00:32:37 camera? Because it feels at times that it's very
00:32:37 --> 00:32:40 claustrophobic, but because you have one character,
00:32:40 --> 00:32:43 then you have the other character when you're
00:32:43 --> 00:32:46 focusing, but then you have them both. So it
00:32:46 --> 00:32:50 goes from a space that is very small to a space
00:32:50 --> 00:32:52 where you got two characters at the same time.
00:32:52 --> 00:32:56 Yeah, well, the idea behind that was that Fortunato,
00:32:56 --> 00:32:59 you know, he's down there in Montresor, the masked
00:32:59 --> 00:33:03 man in the moon mask and the cloak. That guy
00:33:03 --> 00:33:06 was basically, you know, not actually there.
00:33:06 --> 00:33:09 It was supposed to be more or less a hallucination
00:33:09 --> 00:33:12 on behalf of Fortunato because he had been trapped
00:33:12 --> 00:33:15 down there by this guy. And because he had been
00:33:15 --> 00:33:18 trapped in this location by this guy, he was
00:33:18 --> 00:33:23 trying to essentially create. Some internal reasoning
00:33:23 --> 00:33:26 for why somebody could be so cruel to punish
00:33:26 --> 00:33:29 him like that So he kind of like started to believe
00:33:29 --> 00:33:31 that what he did was deserved and he started
00:33:31 --> 00:33:35 to view Montressor as this like monotheistic
00:33:35 --> 00:33:39 like all -powerful god -like entity it was there
00:33:39 --> 00:33:41 and was punishing him and was talking to him
00:33:41 --> 00:33:44 and tormenting him about his you know lust for
00:33:44 --> 00:33:48 wine and you know being a crude bastard so the
00:33:48 --> 00:33:50 locations you know the look of the camera and
00:33:50 --> 00:33:52 the idea was like you know having it feel like
00:33:52 --> 00:33:55 they're close but also having it making it feel
00:33:55 --> 00:33:58 like we're wide open spaces because we changed
00:33:58 --> 00:34:00 that set like three or four times you know going
00:34:00 --> 00:34:02 back and forth and it's just trickery of the
00:34:02 --> 00:34:05 camera to make it look like we're in one location,
00:34:05 --> 00:34:07 but we're actually somewhere else and making
00:34:07 --> 00:34:09 one actor look closer than they actually are,
00:34:09 --> 00:34:11 but having a really tight location, but making
00:34:11 --> 00:34:14 the actors look like they're far apart, you know,
00:34:14 --> 00:34:16 and then same thing with like the end, you know,
00:34:16 --> 00:34:19 with, with the chains and all that. And yeah,
00:34:19 --> 00:34:22 him hallucinating that the chains are vines of,
00:34:22 --> 00:34:24 you know, delicious grapes, you know, to make
00:34:24 --> 00:34:26 wine as he's eating them only for him to be tearing
00:34:26 --> 00:34:30 the teeth out of his mouth. It's all just, you
00:34:30 --> 00:34:34 know, movie magic and trickery. So, yeah. Was
00:34:34 --> 00:34:37 there anything from that scene that didn't go
00:34:37 --> 00:34:41 according to plan? Yeah. There was actually a
00:34:41 --> 00:34:44 really awesome shot of him actually eating the
00:34:44 --> 00:34:47 rat that unfortunately didn't make the cut because
00:34:47 --> 00:34:50 we thought we were recording and we had one rat
00:34:50 --> 00:34:54 and I made the rat and we thought we were recording
00:34:54 --> 00:34:57 the scene and it was not recording and this nasty
00:34:57 --> 00:35:00 ass crazy awesome visual of him tearing into
00:35:00 --> 00:35:04 this rat. did not make it and i was like of course
00:35:04 --> 00:35:05 that's the one that doesn't make it i mean we
00:35:05 --> 00:35:08 basically see it kind of but it was much more
00:35:08 --> 00:35:13 disgusting and like vomit inducing so maybe people
00:35:13 --> 00:35:15 who are watching it will appreciate that it's
00:35:15 --> 00:35:18 not in the film but it was there and it was nasty
00:35:18 --> 00:35:22 so yeah So overall, you would say like at least
00:35:22 --> 00:35:25 this scene turned out how you imagined it. But
00:35:25 --> 00:35:28 besides the not recording part. Initially, the
00:35:28 --> 00:35:30 only other thing that I'd say that was changed
00:35:30 --> 00:35:35 was the designs of the chains on Fortunato. Because
00:35:35 --> 00:35:37 initially they were actually going to look as
00:35:37 --> 00:35:40 if he was like in a chain of spider webs and
00:35:40 --> 00:35:42 they were going to be kind of hanging down over
00:35:42 --> 00:35:45 him and then nailed into the floor. But we just
00:35:45 --> 00:35:48 didn't have the time or the people to do that
00:35:48 --> 00:35:50 because that would have been really elaborate.
00:35:50 --> 00:35:52 I would have loved to do that. But for the sake
00:35:52 --> 00:35:55 of the film and what we had, it worked. But that
00:35:55 --> 00:35:57 doesn't mean that I won't see that gag and that
00:35:57 --> 00:35:59 creepy visual return in something else in the
00:35:59 --> 00:36:03 future. You never know. Is there, at least from
00:36:03 --> 00:36:08 Edgard, is there any other... one of his poems
00:36:08 --> 00:36:11 any other poems of his that you are interested
00:36:11 --> 00:36:14 in developing are these making this not just
00:36:14 --> 00:36:17 a short film but at least an anthology well i
00:36:17 --> 00:36:20 don't know about poe but there are tons of other
00:36:20 --> 00:36:23 short horror gothic writers i'd love to adapt
00:36:23 --> 00:36:25 because poe i feel like so many of them have
00:36:25 --> 00:36:28 been done yeah and i don't want to just retread
00:36:28 --> 00:36:33 the same ground um and poe a lot of his stories
00:36:33 --> 00:36:36 i feel like elements of, of Casca of Amontillado
00:36:36 --> 00:36:37 have appeared in other movies, but it's never
00:36:37 --> 00:36:39 just been straight up adapted as a film film.
00:36:40 --> 00:36:42 So that's kind of why I felt like, let me try
00:36:42 --> 00:36:44 and add something new because I love Poe, but
00:36:44 --> 00:36:46 I would love, there's tons of other artists,
00:36:46 --> 00:36:49 you know, or artists, I mean artists, but authors
00:36:49 --> 00:36:51 I would love to adapt things from, you know,
00:36:51 --> 00:36:55 like I would love to do my own. I hadn't even
00:36:55 --> 00:36:57 thought about doing, I mean, I'm not saying this
00:36:57 --> 00:36:59 is in development because it's not, but I'd love
00:36:59 --> 00:37:00 to do it at some point if I ever were given the
00:37:00 --> 00:37:04 opportunities. do my own uh adaptation of nathaniel
00:37:04 --> 00:37:08 hawthorne's uh young goodman brown i'd love to
00:37:08 --> 00:37:12 do that story i think there's so much uh to kind
00:37:12 --> 00:37:15 of like decrypt in that and i really love the
00:37:15 --> 00:37:19 autumnal almost like salem massachusetts type
00:37:19 --> 00:37:23 visuals um so yeah i'd love to do something you
00:37:23 --> 00:37:27 know with that and there's you know some lovecraft
00:37:27 --> 00:37:31 i'd like to potentially adapt I've actually wrote
00:37:31 --> 00:37:35 my own adaptation with a friend of mine here
00:37:35 --> 00:37:39 in the Czech Republic for a screenplay that was
00:37:39 --> 00:37:42 a riff on The King in Yellow, if you're familiar
00:37:42 --> 00:37:45 with that tale and the legendarium behind that.
00:37:45 --> 00:37:48 So we did our own riff on that. So yeah, I'd
00:37:48 --> 00:37:50 say there's a few. Poe, though, I'd really have
00:37:50 --> 00:37:53 to think about it. I don't think so too much
00:37:53 --> 00:37:55 with Poe. Maybe The Black Cat, because I love
00:37:55 --> 00:38:01 cats. I don't have any like personal, you know,
00:38:01 --> 00:38:04 urge or immediate need to do any more post stories.
00:38:04 --> 00:38:08 What was the, at least like making your own independent
00:38:08 --> 00:38:11 films, what do you think is more difficult? Is
00:38:11 --> 00:38:15 it either making the film or just getting people
00:38:15 --> 00:38:20 to actually see it? Um, probably a bit of both.
00:38:21 --> 00:38:24 Cause you know, when, with the budget comes budget
00:38:24 --> 00:38:27 for marketing. because you have to market your
00:38:27 --> 00:38:29 film properly if you want anybody to see it.
00:38:29 --> 00:38:31 But then also, if you want to make the movie,
00:38:31 --> 00:38:33 you have to have the budget for making it. So
00:38:33 --> 00:38:35 you have to take into account both things when
00:38:35 --> 00:38:37 making the film and just thinking about what
00:38:37 --> 00:38:41 you have. Because I feel like even with some
00:38:41 --> 00:38:43 of my other stuff, I've spent way more money
00:38:43 --> 00:38:45 just pushing the hell out of these ridiculous
00:38:45 --> 00:38:48 -ass movies versus actually making them, because
00:38:48 --> 00:38:50 you can make them for super low budget just with
00:38:50 --> 00:38:52 really talented people and a creative brain.
00:38:53 --> 00:38:56 whatever access to tools you have and then marketing
00:38:56 --> 00:38:58 them and getting them out there, that's the harder
00:38:58 --> 00:39:02 part. So I would say maybe getting them seen
00:39:02 --> 00:39:07 is probably harder and also like finding new
00:39:07 --> 00:39:10 ways to keep maintaining screenings or new ways
00:39:10 --> 00:39:13 to maintaining interest so that it sticks along.
00:39:14 --> 00:39:16 But it's weird because sometimes you'll create
00:39:16 --> 00:39:19 something and it'll just kind of be like dust
00:39:19 --> 00:39:20 in the wind and then all of a sudden it'll come
00:39:20 --> 00:39:22 back way later and be like, oh wow, people are...
00:39:23 --> 00:39:26 into this now for some reason how strange so
00:39:26 --> 00:39:28 yeah and you like you said this is not just going
00:39:28 --> 00:39:31 to be in new york you're looking for actually
00:39:31 --> 00:39:33 other film festivals yeah i mean i'm yeah that's
00:39:33 --> 00:39:36 just you know kind of a bare bones of where we're
00:39:36 --> 00:39:40 where we're seeking but um mainly like the eu
00:39:40 --> 00:39:44 for sure i mean you know italy france been looking
00:39:44 --> 00:39:47 there too but i don't want to say too much before
00:39:47 --> 00:39:50 uh The Fat Lady Sings, if you know what I mean.
00:39:51 --> 00:39:54 It's not over yet. So I would rather just kind
00:39:54 --> 00:39:57 of share as that comes along. But there are definitely
00:39:57 --> 00:40:01 very, very good things on the horizon with it.
00:40:02 --> 00:40:07 And it's opened some very gracious doors for
00:40:07 --> 00:40:09 me, which I'm happy about. And I've made some
00:40:09 --> 00:40:11 wonderful connections through the film. What
00:40:11 --> 00:40:14 are you hoping that audiences come out feeling
00:40:14 --> 00:40:17 when they watch Fortunato's Descent? I hope they
00:40:17 --> 00:40:21 feel that dread and atmosphere that I want to
00:40:21 --> 00:40:23 convey. I hope they feel like that they're locked
00:40:23 --> 00:40:27 away in some nasty Terry Gilliam -esque cellar
00:40:27 --> 00:40:32 with a bunch of old, creepy, court jester -like
00:40:32 --> 00:40:36 figures, you know. thinking about past sins and,
00:40:36 --> 00:40:38 you know, their alcoholism, if they have any.
00:40:38 --> 00:40:41 No, I'm getting way, I'm getting, you know, deep
00:40:41 --> 00:40:44 with it. I actually want a glass of wine. Yeah,
00:40:44 --> 00:40:47 let's, I hope they enjoy it over a glass of wine.
00:40:47 --> 00:40:50 Honestly, no. I mean, to me, it's, if I want
00:40:50 --> 00:40:52 people to take out of it what they take out of
00:40:52 --> 00:40:54 it, it's dark. Of course, it's supposed to be
00:40:54 --> 00:40:56 disturbing. I wrote it that way. And then it's
00:40:56 --> 00:40:59 not, it's my own writing mixed with Poe's writing.
00:40:59 --> 00:41:02 So the beginning, it's like Poe. dialogue and
00:41:02 --> 00:41:04 then the rest is my dialogue that i had written
00:41:04 --> 00:41:06 for the characters because i wanted to you know
00:41:06 --> 00:41:08 feel it had to be as period accurate as possible
00:41:08 --> 00:41:12 um and everyone had to be as repulsive as possible
00:41:12 --> 00:41:15 too because i love terry gilliam and i love how
00:41:15 --> 00:41:17 he just doesn't shy away from making like villagers
00:41:17 --> 00:41:21 look just like disgusting as all hell so i wanted
00:41:21 --> 00:41:23 like everybody in this movie to look nasty especially
00:41:23 --> 00:41:27 our two leads I hope that this is just the type
00:41:27 --> 00:41:29 of thing people can watch and they feel the autumn
00:41:29 --> 00:41:32 vibes, you know, and enjoy it for that reason
00:41:32 --> 00:41:36 alone. Because I love flicking on things around
00:41:36 --> 00:41:38 Halloween time and just kind of feeling, you
00:41:38 --> 00:41:41 know, entranced and absorbing the autumn atmosphere.
00:41:42 --> 00:41:45 So, yeah. It definitely caught that. That's for
00:41:45 --> 00:41:48 sure. Cool. I'm glad. I'm glad it gave that vibe.
00:42:02 --> 00:42:06 Before we close, I want to get now into your
00:42:06 --> 00:42:09 physical release. And that is the release of
00:42:09 --> 00:42:13 Hishkenstein, if I pronounced that right. Hishkenstein.
00:42:13 --> 00:42:17 Yeah, it's Hishkenstein. See, that's why I asked.
00:42:17 --> 00:42:19 I asked you earlier, I'm like, is it Hishkenstein
00:42:19 --> 00:42:21 or Hishkenstein? And you're like, oh, it's Hishkenstein.
00:42:21 --> 00:42:24 And I still went with Hishkenstein. It's a running
00:42:24 --> 00:42:27 joke because even the main character, the guy,
00:42:27 --> 00:42:30 Hishkenstein, mispronounces his name. Like, it
00:42:30 --> 00:42:33 was like... Part of it was hilarious because,
00:42:33 --> 00:42:37 like, when we were making the movie, you know,
00:42:37 --> 00:42:40 I wanted to do, like, a riff on, like, shitty,
00:42:40 --> 00:42:42 stupid characters from, like, the 70s and the
00:42:42 --> 00:42:44 80s from, like, all these B -movies, from, like,
00:42:44 --> 00:42:47 exploitation stuff in particular that would have,
00:42:47 --> 00:42:50 you know, just, like, ridiculous, zany names
00:42:50 --> 00:42:53 and really bad wigs and bad facial hair. So there's
00:42:53 --> 00:42:56 this running gag that Ramirez has this, like,
00:42:56 --> 00:42:58 shitty goatee that's, like, halfway falling off
00:42:58 --> 00:43:02 his face all the time. So it's like a part of
00:43:02 --> 00:43:07 his costume, you know, and it's the whole idea
00:43:07 --> 00:43:10 behind the film was to make it like a love letter
00:43:10 --> 00:43:16 to Halloween, you know, kind of, you know, midnight
00:43:16 --> 00:43:20 madness, spook show type things with a bit of
00:43:20 --> 00:43:25 a weird analog psychedelic doom metal edge. And
00:43:25 --> 00:43:29 it's every bit as gross and just completely stupid
00:43:29 --> 00:43:33 as you would imagine. But the character has appeared
00:43:33 --> 00:43:37 in other things before. We had a first film that
00:43:37 --> 00:43:40 we had made during COVID called Bad People Doing
00:43:40 --> 00:43:43 Bad Things, which will also be featured on the
00:43:43 --> 00:43:45 Blu -ray. Oh, so there'll be two films? Awesome.
00:43:45 --> 00:43:48 Yeah, it's two films, yeah. But Hishkenstein
00:43:48 --> 00:43:50 is kind of the main point. But Bad People was
00:43:50 --> 00:43:53 the first one. And he was in that. And the whole
00:43:53 --> 00:43:56 thing is that Ramirez is a self -proclaimed extraordinary
00:43:56 --> 00:44:01 method filmmaker. occultist and erotic provocateur
00:44:01 --> 00:44:06 and uh you know he's got a german last name latino
00:44:06 --> 00:44:08 first name but he's doing like a french accent
00:44:08 --> 00:44:13 and he's played by a japanese guy so when you
00:44:13 --> 00:44:15 when you said that to me earlier i said well
00:44:15 --> 00:44:18 this is where we're both cancelled Exactly, yeah.
00:44:18 --> 00:44:21 No, it's every bit as sexy as it sounds and amazing.
00:44:21 --> 00:44:24 Well, I mean, he's Latino with a French accent.
00:44:24 --> 00:44:26 No, trust me, I've been to Paris. There's a lot
00:44:26 --> 00:44:29 of Latinos with very good French accents. Exactly,
00:44:29 --> 00:44:31 exactly. You'd be surprised. But yeah, no, that
00:44:31 --> 00:44:34 got me to it. I told my buddy, because he was
00:44:34 --> 00:44:36 a character that me and my friend kind of like
00:44:36 --> 00:44:38 created in high school when we were doing this
00:44:38 --> 00:44:42 video about this crazy mad scientist called Dr.
00:44:42 --> 00:44:46 Hishkenstein, who was basically the owner of
00:44:46 --> 00:44:49 this insane asylum with all of these D and C
00:44:49 --> 00:44:51 tier level celebrities that like were locked
00:44:51 --> 00:44:54 up and he created this accent and then we just
00:44:54 --> 00:44:56 kind of carried it out many years later. And
00:44:56 --> 00:44:58 I said, let's just do something with that guy
00:44:58 --> 00:45:01 because we were in the middle of COVID and we
00:45:01 --> 00:45:04 love to just get together and watch horror movies
00:45:04 --> 00:45:08 and weird, shitty, weird lost films and, you
00:45:08 --> 00:45:10 know, just laugh and enjoy them. So I wanted
00:45:10 --> 00:45:12 to create a character that was kind of the embodiment
00:45:12 --> 00:45:14 of that. And I said like, Let's just, like, do
00:45:14 --> 00:45:18 a movie about, like, some sleazy, occult -y,
00:45:18 --> 00:45:21 sexed -up weirdo with a shitty mustache and have
00:45:21 --> 00:45:23 him go on some bullshit, bogus journey with a
00:45:23 --> 00:45:26 friend of his. And then the movie turned into
00:45:26 --> 00:45:28 that. And then we did the Hishkenstein because
00:45:28 --> 00:45:31 people seemed to like that. And it was just more
00:45:31 --> 00:45:34 of that but weirder. and uh we're already in
00:45:34 --> 00:45:37 development on the next one so it's it's definitely
00:45:37 --> 00:45:41 happening um which i'm very excited to to talk
00:45:41 --> 00:45:43 about that when when the time comes but it is
00:45:43 --> 00:45:46 happening for anybody wondering and yeah you
00:45:46 --> 00:45:49 know it's it's continuing to be weird and fun
00:45:49 --> 00:45:53 and uh yeah it's it's i love doing the more dark
00:45:53 --> 00:45:55 serious stuff too because like that's more the
00:45:55 --> 00:46:00 direction that I want to take my career in terms
00:46:00 --> 00:46:02 of, you know, as a filmmaker, but I will always
00:46:02 --> 00:46:04 continue to do the silly Hichtenstein stuff.
00:46:04 --> 00:46:08 And I think that will continue to be a part of
00:46:08 --> 00:46:10 my career for the rest of my life, hopefully.
00:46:11 --> 00:46:16 I mean, sometimes silly characters have a lifespan.
00:46:17 --> 00:46:20 movies like what's it called the leprechaun movies
00:46:20 --> 00:46:23 they're oh you know you got these yeah you got
00:46:23 --> 00:46:25 these weird ass characters and they tend to have
00:46:25 --> 00:46:28 a good lifespan you know if you know if you keep
00:46:28 --> 00:46:31 them original or fresh storylines they do have
00:46:31 --> 00:46:34 a lifespan no no you're right you're right they
00:46:34 --> 00:46:37 do have those lifespans you know and uh a lot
00:46:37 --> 00:46:39 of these character actors do too and i think
00:46:39 --> 00:46:43 like with what i'm hoping to do with these with
00:46:43 --> 00:46:47 the hischgenstein thing is to you know the actors
00:46:47 --> 00:46:50 that I have cast for those films that I have
00:46:50 --> 00:46:53 stepped into those roles. I want to not be seen
00:46:53 --> 00:46:56 as like, hopefully it's not seen as like this,
00:46:56 --> 00:46:59 you know, this glamor show. Like to me, I want
00:46:59 --> 00:47:01 it to be like, these are character actors, you
00:47:01 --> 00:47:03 know, like, like a Tim Curry type thing or like,
00:47:03 --> 00:47:06 you know, a Lon Chaney thing, you know. Yeah.
00:47:06 --> 00:47:09 Theater trope. Yeah. Bringing that theater trope
00:47:09 --> 00:47:11 into a, in front of a camera. Yeah. I do love
00:47:11 --> 00:47:14 movies like that. Cause it's like. A lot of mistakes
00:47:14 --> 00:47:17 tend to make it into the cut a lot of the times
00:47:17 --> 00:47:20 because they're better than what they, you know,
00:47:20 --> 00:47:23 they practice. And that's what sometimes when
00:47:23 --> 00:47:26 you're going into the commentaries and, oh, this
00:47:26 --> 00:47:27 happened by mistake and this happened by mistake.
00:47:28 --> 00:47:29 And you're like, well, that made the movie better.
00:47:29 --> 00:47:31 Like, you know, there's things that happen when
00:47:31 --> 00:47:34 you have people who are character actors because
00:47:34 --> 00:47:36 they really know what they're doing. Absolutely.
00:47:37 --> 00:47:40 How does it make you feel having this release
00:47:40 --> 00:47:43 coming out on Blu -ray, which not a lot of. independent
00:47:43 --> 00:47:46 films do get and you know i would say that's
00:47:46 --> 00:47:49 probably the downfall um that we have in in the
00:47:49 --> 00:47:52 community that a lot of filmmakers that are independent
00:47:52 --> 00:47:58 these films if we're trying to archive all types
00:47:58 --> 00:48:02 of films and as much films as we can we also
00:48:02 --> 00:48:05 have to focus on independent filmmaking um that
00:48:05 --> 00:48:09 play on like yourself on festivals and streaming
00:48:09 --> 00:48:12 and then later on they're just kind of like boof
00:48:12 --> 00:48:16 disappear and we know we don't protect that part
00:48:16 --> 00:48:18 of of cinema how does it make you feel having
00:48:18 --> 00:48:21 you know hitchkenstein uh coming out now on blu
00:48:21 --> 00:48:26 -ray um i'm just happy you know that i get the
00:48:26 --> 00:48:28 chance to have it be shared on blu -ray for people
00:48:28 --> 00:48:30 that like to collect i mean i like to collect
00:48:30 --> 00:48:35 uh blu -rays vhs's vinyl records um because it's
00:48:35 --> 00:48:38 just you know it's having something that is like
00:48:38 --> 00:48:40 a memory like i said it's like movies are a time
00:48:40 --> 00:48:44 capsule so i'm incredibly honored to have it
00:48:44 --> 00:48:48 come out i mean um everybody worked hard on it
00:48:48 --> 00:48:52 so i would hope that everybody's excited about
00:48:52 --> 00:48:55 the the idea of this coming out and having it
00:48:55 --> 00:48:58 you know be its thing and hopefully it will continue
00:48:58 --> 00:49:03 to live on in you know the world in some way
00:49:03 --> 00:49:05 you know because physical media it is unfortunately
00:49:05 --> 00:49:07 it's not as big as it used to be but i'm hoping
00:49:08 --> 00:49:10 that it does make some form of return because
00:49:10 --> 00:49:13 you are seeing more people, you know, get vinyl
00:49:13 --> 00:49:15 records and do things like that because it's
00:49:15 --> 00:49:18 like there's this hearkening for nostalgia. And
00:49:18 --> 00:49:23 I think that, you know, in the way that history
00:49:23 --> 00:49:26 repeats itself in like the way that movies repeat
00:49:26 --> 00:49:28 themselves, I think that like culture and trends,
00:49:28 --> 00:49:30 you know, like you'll see a lot of trends. from
00:49:30 --> 00:49:33 the 90s come back now the way people are dressing
00:49:33 --> 00:49:35 the big baggy jeans like even like the earth
00:49:35 --> 00:49:38 with like a lot of like gen z you'll see it now
00:49:38 --> 00:49:42 like the goth look the metal goth look is like
00:49:42 --> 00:49:44 really coming back which is very much almost
00:49:44 --> 00:49:47 feels like of the 2000s you know with like my
00:49:47 --> 00:49:52 chemical romance and you know Marilyn Manson,
00:49:52 --> 00:49:53 that whole look when that was a thing and the
00:49:53 --> 00:49:56 early Hot Topic thing in the 2000s, that's starting
00:49:56 --> 00:49:59 to come back now, which is very strange because
00:49:59 --> 00:50:01 I remember seeing that. So it's like, it's weird
00:50:01 --> 00:50:03 that it's coming back again. Maybe it never went
00:50:03 --> 00:50:05 away, right? I get it. You guys are also doing
00:50:05 --> 00:50:07 it for nostalgia because I watch a lot of young
00:50:07 --> 00:50:13 Gen Z collectors and they really go for the nostalgia.
00:50:14 --> 00:50:17 of things and also like trying to push away from
00:50:17 --> 00:50:19 streaming and i feel like that that is really
00:50:19 --> 00:50:23 coming full circle now and a lot of it just really
00:50:23 --> 00:50:25 comes back a lot of these uh trends a lot of
00:50:25 --> 00:50:28 these collections they they really do make their
00:50:28 --> 00:50:32 way back yeah no absolutely i think that uh it
00:50:32 --> 00:50:36 is important you know to to maintain those elements
00:50:36 --> 00:50:39 from the past because i think that uh It's important
00:50:39 --> 00:50:41 for things to live on. You know, it's like you
00:50:41 --> 00:50:43 say Freddie's name, Freddie will stick around
00:50:43 --> 00:50:46 in memory, right? Don't forget him. Same thing
00:50:46 --> 00:50:48 with, you know, this is always that, you know,
00:50:48 --> 00:50:51 Pennywise or Lord Voldemort, right? It's like
00:50:51 --> 00:50:53 you say the name, they stick around. So it's
00:50:53 --> 00:50:55 the same thing with nostalgia or anything old.
00:50:55 --> 00:50:58 So the release is coming out from Coffin Maker.
00:50:58 --> 00:51:01 How did you guys come to that? Yeah, I mean,
00:51:01 --> 00:51:06 he just... hit me up i followed him i sent him
00:51:06 --> 00:51:07 the movie and he hit me up and he seemed to like
00:51:07 --> 00:51:09 the aesthetic of what the movie was offering
00:51:09 --> 00:51:13 which i was like oh cool and he was like i hope
00:51:13 --> 00:51:16 you trust me with the process and yeah i figured
00:51:16 --> 00:51:19 why not you know i mean we've done some other
00:51:19 --> 00:51:21 releases in some other category with other distributors
00:51:21 --> 00:51:24 for other projects but not hischgenstein and
00:51:24 --> 00:51:27 i was just kind of open to doing something new
00:51:27 --> 00:51:32 with it um because you know i didn't see it ever
00:51:32 --> 00:51:35 getting a release from like, you know, Vinegar
00:51:35 --> 00:51:37 Syndrome or anything like that. And I was kind
00:51:37 --> 00:51:41 of like, okay, well, not that I don't like Vinegar
00:51:41 --> 00:51:42 Syndrome, I do, but it's just I didn't see them
00:51:42 --> 00:51:45 ever releasing it. And then I was still figuring
00:51:45 --> 00:51:47 out the streaming rights and getting all that
00:51:47 --> 00:51:49 figured out and haven't really even gotten to
00:51:49 --> 00:51:53 the process of doing physical media. So, yeah,
00:51:53 --> 00:51:56 I was just really happy that he wanted to do
00:51:56 --> 00:51:59 it. It just happened to line up with the streaming
00:51:59 --> 00:52:01 release date too. So how about that? Is there
00:52:01 --> 00:52:04 anything that you're including in the Blu -ray
00:52:04 --> 00:52:07 release? Any audio commentary? What can we look
00:52:07 --> 00:52:10 forward to? Audio commentary, not really deleted
00:52:10 --> 00:52:15 scenes, but some new artwork, clips, little short
00:52:15 --> 00:52:17 films, and of course the inclusion of the first
00:52:17 --> 00:52:20 film, Bad People Doing Bad Things. So that'll
00:52:20 --> 00:52:24 be cool. All right. So Gary, before I let you
00:52:24 --> 00:52:25 go, I have one final question for you. After
00:52:25 --> 00:52:29 everything you've learned so far, why do you
00:52:29 --> 00:52:33 think it's important to keep making films? To
00:52:33 --> 00:52:36 continue to create new art so that it will continue
00:52:36 --> 00:52:38 to inspire others to do their own type of art.
00:52:38 --> 00:52:41 Because everything that we do is inspired by
00:52:41 --> 00:52:43 something else, whether that's music or, you
00:52:43 --> 00:52:46 know, film or something we see, architecture,
00:52:47 --> 00:52:53 you know, a memory. So it's inspired in some
00:52:53 --> 00:52:56 way. And, you know, it's keeping that going in
00:52:56 --> 00:52:58 whatever way that you can and paying tribute
00:52:58 --> 00:53:00 to what came before, but finding your own way
00:53:00 --> 00:53:02 to make it yours and do something new. But at
00:53:02 --> 00:53:04 the end of the day, still remain entertaining
00:53:04 --> 00:53:07 because that's your job. So entertain. And just
00:53:07 --> 00:53:10 to remind audiences the dates again for Fortunato's
00:53:10 --> 00:53:14 Descent and for Hitchkinstein. So we don't exactly
00:53:14 --> 00:53:17 have the dates for Fortunato's Descent yet when
00:53:17 --> 00:53:19 it's actually going to be showcasing, but that
00:53:19 --> 00:53:22 will be announced soon. So I can keep them up
00:53:22 --> 00:53:24 to tabs if they want to check out my social media,
00:53:24 --> 00:53:28 Ed Gerskera on Instagram or Ed Wickerstick's
00:53:28 --> 00:53:30 Entertainment on Instagram, or they can always
00:53:30 --> 00:53:32 go to the YouTube channel, Ed Wickerstick's Entertainment
00:53:32 --> 00:53:36 as well. Hitchkinstein After Dark, the Blu -ray
00:53:36 --> 00:53:39 will be dropping at some point in October, late
00:53:39 --> 00:53:41 October, so they'll be able to pre -order a copy
00:53:41 --> 00:53:44 of it very soon. Awesome. I will keep them posted
00:53:44 --> 00:53:47 as well because I'll be sharing that in my stories.
00:53:47 --> 00:53:50 So again, just repeat to them where they can
00:53:50 --> 00:53:52 find you. I'm going to link all your social medias
00:53:52 --> 00:53:56 and all your websites here below. So yeah, they
00:53:56 --> 00:54:00 can follow my Instagram at gare underscore scare.
00:54:01 --> 00:54:04 So at gare scare or at wicker sticks entertainment.
00:54:04 --> 00:54:08 And they can also go to the YouTube channel wicker
00:54:08 --> 00:54:10 sticks entertainment and check out any new stuff
00:54:10 --> 00:54:13 there as well. All right. Thank you so much,
00:54:13 --> 00:54:15 Gare, for being with me here today. Don't forget
00:54:15 --> 00:54:19 that you can follow me at krpotlab .com. And
00:54:19 --> 00:54:23 you can also follow us on Instagram at thephysicalcutpod.
00:54:23 --> 00:54:25 Thank you for listening to The Physical Cut,
00:54:25 --> 00:54:26 where films live beyond the stream. And I will
00:54:26 --> 00:54:28 see you guys next time.