Well, you ain't coming too. Deep.
I think I'm dying here. Man the haunted.
Mansions it for us, the Creek they lead us to the places from
which we dare not be. Journey through fear in the
realm of the night. In every word they speak.
A haunted night was right. Welcome to the horror show The
Deep Blood Podcast. When nightmares come out of
life. Ready to take them?
Oh, tune into the chilling delight on the airwaves of the
night. Let the darkness go.
Oh.
Yeah, is that time again for another weekly episode of the
Deep Cut Podcast with your host, Rotten Rodger DeMarco.
And today I'm doing something crazy.
I am blown away to be sitting here with the man, the myth, the
legend, director, actor, effects artist, Pretty much everything
you can do, you do do the the one and only Addison Bennick.
Yeah, you got my last name right too.
Yeah, man, I. Know I love people do not people
do. For the uninitiated who auto
download or whatever, whatever, most of the folks that listen to
the Deep Cut podcast are kind of used to a structure, a format of
covering a specific film. And we're branching out and
we're bringing on actors, directors.
And you were at the top of the list, dude.
Because for the people that don't know, I mean, you're Jack
of all trades. You do so many things and I felt
like I needed to bring you on and have our audience be
introduced to you. So real quick, I'll just have
you introduce who you are officially, what you do, and
then I'm going to jump into a bunch of crazy ass questions for
you. So let your rant ramble.
OK, well I am Addison Bennett and I am the Co creator Co
director of the Psycho Ape series with Greg Deleto.
But I've also done for about 10 years.
I did a show called Movies to watch on a rainy afternoon on
YouTube, which was kind of like a bite sized Mystery Science
Theater 3000 slash Rifftrax where I would review and riff on
cheesy B movies. You know, these episodes would
go anywhere between like 10 to 15 minutes, sometimes 20
depending on the movie, how many jokes we came up with.
And it was kind of like, you know, just best of the worst
clips from these cheesy movies with my own spherical commentary
sprinkled throughout these clips edited together in kind of a
review format. Yeah. 133 episodes of those.
And I have been taking a much needed break.
You know, I haven't done one since, like, March.
I did Saint Patrick's Day episode.
Like, Leprechaun in the Hood was my last one.
That was about 3 years ago, I think two or three years ago.
And I don't know, I just 133 episodes of anything.
You know, that's a lie. You know, I've, I've, I've said
what I needed to say and I'm just taking a break.
I also used to work with Troma. I did 2 episodes of a a full
length movie ripping show called True Masterpiece Theater.
The first movie was The Battle of Love's Return and the second
one was Poultrygeist. Lloyd Kaufman hand selected
those films for us to riff on. We built puppets, rented out a
movie theater, filmed ourselves in front of a green screen so
you see our silhouettes at the bottom.
And we had pre written scripts from watching the films
repeatedly. And so as the movie played out,
we would just recite the jokes from the scripts that we had in
our hands and we would, you know, notate the time codes so
that we were synced up properly and said the jokes at the right
time. But it who knows.
And my other project Magnum Opus, which is a Jackass
inspired feature. It's so.
Good. Thank.
You so good. I'm really proud of that one.
That's one of my favorites. That was an experiment from a
few years ago. I took gosh, 1520, I don't even
know how many mini DV tapes. And I digitized them for the
first time since like high school, You know, these tapes
were old. They're 15 years old, bordering
20 at this point. I graduated high school in 2007.
So all these mini DV tapes, these high 8 tapes, VHS tapes,
digitized them for the first time.
And I took the footage and I extracted all of the stunts,
pranks, skits, and I laid all these clips out in chronological
order. So you see me and my friends
grow older in this hour long film.
We're 12151617182021222528. And then the footage quality
gets better as the movie plays out too.
So you start with crappy VHS, you go to high 8 mini DV digital
1080P and it is essentially like.
I wish that I had come up with this tagline, but this is from a
review. Someone called it Boyhood meets
Jackass. Oh my God.
What it is? Yeah, that's that nails it.
I want to say this about Magnum Opus, dude.
Oddly, surprisingly, like, emotional, like hits, you know?
I wasn't expecting that, but I really like that that's kind of
what happened because again, it is a time capsule of my teen
years and my early 20s with my core group of friends.
Some of those people have passed away, some of them moved away.
So I'm not as close with those people.
But whenever I get to watch that movie in a theater with an
audience, it's like I'm reliving my childhood.
I'm reliving my favorite moments of my life.
And you know, it's emotional for me too.
And the fact that people can connect to it because they, you
know, they they've grown out of their friend groups.
You know, people have, you know, had children of their own,
they've gotten married or they've moved on or just
sometimes just grow apart from someone that even though you've
known them for 20 years, you know, you're not in the same
place as you were 20 years ago. And you're just different
people. So it's just, it's it's nice to
sort of remember as a time capsule, you know, what that
friendship was like. It's a reminder for me every
time I watch it. Like, yeah, I'm not as close
with that guy anymore, or I'm not, you know, that guy has
passed away. But I always have these memories
in a movie and it's also a serves as entertainment for
others. Yeah, and I can totally relate
to that because I used to do a ton of backyard wrestling with
all of my buddies. And since then I've had buddies
that have moved away or passed away.
And like I said, when I was watching Magnum Opus, I'm not
ashamed to admit like, you know, you cry because you're like,
it's, it's crazy to have like to watch someone grow and, and go
from a little kid to an adult. And it's like you said, with all
of the relationships, like, well, so and so will like
they'll get married or you know, or they'll move away or
whatever. But you have all these little
snippets these these sections of time where not like where you
can tie it to like, I remember after the camera was done, like
we went and had Dairy Queen or we went and did this or like,
you know, so you every time you watch that skit that you did or
whatever, you just get this like you're in the DeLorean.
You get to go back in time and be like, man, and and relive
what it was like before life got in the way.
And it's awesome, dude. Like I'm tearing up even like
thinking about it. So yeah, for anybody who doesn't
know about Magnum Opus, there will be a link in the
description, obviously. On YouTube, it's free on
YouTube, but then if you buy the Blu-ray, there's 37 more minutes
of deleted material because I only really wanted it to be
like, you know, it's 63 minutes, but I still after watching with
audiences, I feel like maybe it's a smidge too long.
I feel like maybe 60 to 61 would have been more appropriate just
to have the audience for an hour.
But there's still, there's, there's 37 unused minutes on the
Blu-ray, tons of deleted scenes. You know, it's just stuff that I
thought like funny, but maybe not as funny as some of the
clips I ended up using. But I didn't just not use the
material. So it's on the Blu-ray, you
know. So if you buy the Blu-ray,
there's there's even more. Material, which you should yeah,
watch it for free, then buy it to support you know, our
audience is big. They're they're massive physical
media people that watch our channel build video stores in
their houses. So buy the buy the damn Blu-ray.
Yeah. And, you know, obviously my
intention was never anything more than like, oh, I'll sell
maybe 100 copies or something, maybe even less, like 50.
And I'm about 200 sales in. And, you know, I sell it at
conventions and I sell it on eBay, and it's got like 1000
views online. Yes, but it's the people who
have gotten the film 2 that I'm really particularly proud of
because I mean, there's skits in Magnum Opus that are heavily
inspired not just by Jackass, but just early MTV, you know,
like early 2000s MTV, you know, Tom Green and stuff.
There are there are clear Tom Green inspired skits in the
movie. And two years ago I went to a
Tom Green stand up comedy show and after the show I was waiting
outside with a friend of mine and we gave him copies of the
movie. So Tom Green has in his
possession, I don't know if he ever watched it, but he has in
his possession copies of both Psycho Ape 1 and Mcnamocus.
So he, he and he was filming us too, like he was filming the
whole interaction and he put that entire 17 minute long
conversation, you know, on YouTube uncut.
Oh, that's on his YouTube channel.
Just have to scroll back two years.
Hell yeah. And also in 2024, I flew out to
California because Zack Ass, who was the one of the newest cast
members in Jackass Forever, he's a fan of my work as well.
He's he's more of a fan of Psycho Ape.
But I was able to go on his podcast in his podcast studio in
Los Angeles and we discussed Psycho Ape and Magnum Opus and I
gave him copies of my film as well.
And then the very next day I went to a screening of Jackass
the movie, like a 20th anniversary screening.
And I met with Jeff Tremaine, you know, a camera operator,
Rick Hasik. And I got to hang out with Jeff
Tremaine back at his studio office in English, Burbank.
And we just, you know, for three hours.
I got to hang out with, you know, the director of the
Jackass Ranch. That's.
So crazy bucket list business going on.
Right now I gave him copies of all my movies.
Too, Yeah. So, you know, doing all this and
and, you know, never stopping, never giving up, you know, I've
been, I've been able to, you know, give copies of my films to
my son of my heroes, Tom Green, Jeff Tremaine.
You know, it's just that's sort of the thing that I was not
expecting, but has been a, you know, added and more than
welcomed bonus. Yeah, that's the cherry on the
top for sure. Yeah, that's so cool.
So, so kind of tying into Magnum, tying into Magnum Opus.
I kind of want to the first question that I like to ask
people is, you know, at what age were you when you were kind of
bitten by like the creative bug, You know, when, when was the
first time? And it doesn't have to be
filmmaking, but like, what was your first foray?
Were you like into, you know, doing plays for school or or
whatever? Like what was what was the jump
off point for you where you're like, man, I love creating.
I love this, like this avenue of expression.
Well, I definitely have always loved movies.
You know, my dad, he had Avhs camcorder when I was a kid and
he was always filming home movies and stuff.
So of course, you know, when you're a little kid and you have
this device that can capture things, you know, either mundane
or funny things, and then you learn how to like, you know,
stack 2 VCRS on top of each other, edit little mini movies
with your friends. It just kind of took off from
there. You know, like I was always
renting movies. I was always watching movies and
I was always inspired to just sort of want to create my own
content. And I would, you know, record
things in my backyard with my friends and later edit these
mini movies together with two, stack the VHS or VHBCRS with,
you know, you put the blank VHS in one and you have the master
tape on the other. And you just hit, you know, stop
and record and stop and record. And you can figure out in an
afternoon how to edit a little, like, mini thing.
And so that's been a thing since I was like, you know, 7-8, nine
years old, you know, like, having that video camera.
I mean, nice. Yeah.
The very first clip of Magnum Opus is my friend Jonathan and I
at our elementary school jumping off of play structures and, you
know, jungle gym and monkey bars and all that stuff.
And that is from footage from that like home VHS camcorder
that my dad used to like film, you know, trips to the zoo or
Christmas morning and stuff. And then he knew what I was
using that camera for at the time.
I'm sure he would have rung my neck.
But if if he was still around today, because he passed away
long before I was ever really like making movies, like even
before I had just been accepted to film school.
But you know, if he was still around today, I think he, he, it
blow his mind that like, you know, these little movies,
these, you know, these stunts and clips and things and you
know, things that he would have been like, what the hell are you
doing with my camera? It's a very irresponsible, you
know, don't tell your mom. But now these movies have played
theatrically with Jackass films like Magnum Opus has played with
Jackass the movie Jackass #2 and Jackass 3D in California with
Rick Kosik and another camera operator in attendance.
So, you know, literally, like, I don't know, that's just it, it's
been this long, long trajectory, you know, and I just kind of
stuck through it and just year after year after year, just
continuing to film stuff and hone my editing skills because I
do, except for Psycho Wave, I, I pretty much edit everything
else. Like for Masterpiece Theatre, I
personally edited all 133 episodes of movies to watch in
the rainy afternoon. My friend and I, we kind of took
turns editing chunks of Magnum Opus just because there was so
much material to sift through. Yeah, but the majority of the
stuff that I make, I edit, except for Cycle Way One and
two. That's my partner, Greg.
I'll tell you this man, if I ever film another feature, I'm
paying someone to edit. That was the longest year of my
wife and I's life. We spent a year editing and I
was like. It's a process.
You have to really like it, you know, you have to really want to
sit at a computer for, you know, the longest.
I think I ever did like a quick like I just when I was editing
movies to watch in a rainy afternoon when I first started,
it would take like 14 days, one after the next to watch a cheesy
bad movie while writing jokes with the time code on the
television. You know, ripping the file from
the DVD, cutting up the movie according to the time codes that
I wrote down just so that I could get those clips kind of
corralled together on my timeline and delete the rest of
the footage that I didn't was never going to use.
Recall all the jokes, edit the audio to the movie and you know,
calibrate the audio so that it sounds natural and not like
cheating. Like no, because the way that I
always saw like riffing on a movie is don't put your joke on
top of a dialogue because then it's conflicting dialogue.
Wait for a moment or a gap in time and then throw your joke in
there. But this whole process of like
editing, plus I filmed like host segments, you know, mimicking
things or spoofing scenes from these movies.
The whole process would used to take two weeks and then over the
course of ten years, I shrunk it down to six days.
So I did the South Park thing where I could, I was able to
turn an episode around in six days if I worked on it like in
chunks every single day. But there was one time where I
didn't have much time or yeah, but I just I wanted to get the
episode done because of my like 10th or 11th anniversary of the
show was coming up. And I was like, gosh, I have, I
only have really like 5 or 6 days to really finish this
episode. So I spent like 13 hours just
editing and that that that was too much, that that was sort of
like the end of the line where I was like, you know what?
I don't know if this is something I really want to be
doing all the time anymore. I think I need a break.
Yeah. So I only did maybe like two or
three more episodes after that 10th or 11th anniversary
special. And then I've just been.
I just, I've been taking a break ever since, you know, just
because it's a lot of work. It seriously is to sift through
a cheesy movie and record all these jokes because, you know, I
watch it with friends, these movies.
I watch these movies with buddies and collectively, I
mean, we come up with pages and pages and pages of riffs and
jokes and then those handwritten jokes.
It's scaled down to like, well, you know, I don't need this one
or that one's just arbitrary or that might be a funny comment,
but I don't really need to use that clip because it doesn't
really tell the story of the scene because that's kind of
what I look for in these cheesy movies.
Like, you know, yeah, a cheesy clip with a funny joke is funny,
but there's no context in it. You.
Got to like the get to create like the abridged version of the
movie. Yeah, yeah.
It's it's an abridged version of the movie and then an abridged
version of the scene itself. So it's like, well, there's an
important dialogue in this scene to sort of that moves the story
along. So let's spoof or let's let's
riff on this scene specifically because then it'll help later
when you don't have context for some of these other scenes.
Exactly, Yeah. And so it became a whole to do.
It became a whole thing of like, figuring it out because like,
sometimes, because what I wanted to illustrate with these
episodes was, you know, sometimes you can just like,
watch this and you get a gist of the movie in 15 or 20 minutes.
And you don't have to sit there and watch the whole thing,
right? Plus, I make it funnier and more
fun for the audience with hopefully these funny jokes.
Yeah, and it's, it's hilarious, dude.
It's, it's good stuff. But I, you know how you're
saying like sometimes, you know, you just need a break and you
got to step away. I think that's important because
when, when you wear as many hats as indie folks do, because a lot
of people don't realize, like, like you said, you're writing
it, you're directing it, you're editing it, you're, you're doing
all of this stuff. It's not like you have a massive
team where you can delegate tasks.
So but it's definitely important to be like, I need a year, I
need X amount of time, I need to step away, I need to focus on
something else because otherwise you just burn out.
And then it's like it becomes. Plenty of that too.
Plenty plenty times just burn out of just like I overexert
myself, you know? Seriously, again, in, you know,
10 years, I made 133 episodes of a movie riffing show, you know,
it's 1520 minutes each and turning a project around in six
days and then the very next week doing it all over again like I
was. I was so fast at some of these
that I was doing one a week for a while.
And that's why there's so damn many episodes.
Like in 2018, I got it down to a science.
And so every week, every like Tuesday, I had a new one.
And even my coworkers when I used to work at Walgreens, they
were just like, hey man, I can't keep up with your show anymore.
I'm sorry. I like your show and I think
it's really funny, but I'm like 3 episodes behind.
You got to slow down. And I was like, I can't slow
down now. Like now that I figured out how
to do these in six days, like now I've got the rhythm.
And this is my schedule, yeah, right.
So I must. I got to go like, this is my
time, you know? So now that I've taken like 2-3
years off, I can sort of sit back and reflect and be like,
hey, that was a lot of work. It still exists just because
some of these episodes are now bordering on like 10 years old
now. They still.
Exist. Yeah, they're a.
Little better. I, I riffed that movie.
That episode is there. You know, maybe I'd be a better
writer now or a better, a funnier joke writer now or a
better editor now. But it doesn't matter.
You know, there's 133 episodes to choose.
From right it's. It's all in the can.
Like it's, it's, you know, it's a part of your creative history.
It's like, yeah, yeah, this is your, your or your filmography
essentially. You know, like, yeah, these
things, I've done them. Now it's time to move on and
and, you know, go somewhere else.
It's like having a ginormous like body of work on it.
And then it's not just movies to watch in a rainy afternoon.
There's two episodes of your Masterpiece Theater and then
there's Magnum Opus and then there's two Psycho Waves.
So there's just like a ton of stuff out there that I've worked
on in some capacity, whether it's the writer or director, you
know, I star in movies to watch and you know, with Psycho Ape
and I have little cameos, but I was behind the scenes and wrote
everything. And then, you know, Greg cut and
shot those movies, but I was still there.
I was still present and he would send me rough cuts and we would
approve them together. So I'm and I'm involved heavily
in every single aspect of every single thing I've ever done.
Yeah, when, when you're doing all of these things, has there
ever been, Because I know there has for me, I deal with it a
lot. Has there ever been like a
moment where you're kind of struck with like imposter
syndrome and you're like, you know, what am I doing?
And then like, if that's happened, like how do you like
forge through it instead of just kind of like giving in to the
voice, so to speak, you know what I'm saying?
Like and being like, well, I guess I'm, I am an imposter and
I'm done or whatever. Like how do you push through and
be like next project? I have things to do like.
I mean, I basically let people speak for me, you know what I
mean? Like when I go to conventions
and stuff and people are excited for whatever new Blu-ray I have
at my table or someone wants a signature or something, I
obliged. But I just always kind of feel
like, why do you want this? But that's cool, that's fine.
You know, they're there, they want to collect signatures and
they like, you know, they like all my stuff.
Like I go to certain conventions, like there's Cinema
Wasteland in Strongsville. OH, and I have a number of
people who will pretty much buy anything new that's on my table.
And it's like, that's really neat.
You know, I, I just, you know, I feel, you know, humbled and
lucky that, you know, there's, I've, I've reached certain
audience members that really like the stuff that I do right.
And I, I just say like, don't think about it too much.
And that's even hard for me to say because I'm always in my own
head. But you know, it's just sort of
a let the audience speak for you, you know, again, you know,
I I've traveled a lot, a lot of places that I've been to for
screenings of Psycho Ape or Magnum Opus or from Masterpiece
Theater. A lot of those things were
invites. So I, I don't feel imposter
syndrome when I'm being invited. If I were to like go somewhere
and expect like layout the red carpet for me, like I would
never do that. But I mean that that would be
the wrong approach. But if someone is like, hey, you
know, we're had, we want to have this.
Like, the reason I met Bill Whedon for Psycho Ape in the 1st
place was in 2019 at your Masterpiece Theatre, got booked
to play in a double feature with Sergeant Kabuki Man in New York
City. So I flew out to New York.
And the promoter who was putting on the event, they put me up in
a hotel with Bill. And so we were like, roommates
in this, you know, swanky New York City hotel.
And we both attended this double feature of from Ashby's Theater
and, sorry, Boogeyman. And it was, you know, one of the
first times anybody had ever treated me like that, where it
was just like an all, you know, like a rock star.
Yeah. And but it did.
I didn't let it go do it in my head, you know.
So don't let things go to your head first of all.
But second, you know, enjoy the ride even if you aren't quite
feeling. Maybe you deserve it because
somebody thinks that you do, you know?
That's, that's really good advice, man.
That's, it's, it's a very tough thing.
You know, when, when you are working on something and you're
just like you're, you're trying to, to get out there and, and
get people to notice you. And you know, sometimes it takes
it because you're doing it by yourself.
So it takes longer than like if you were like with a studio or
whatever. So it can really, it can really
take its toll on you. Oh yeah, I mean, Psycho Ape One
took a year and a half to make because of the pandemic.
We started shooting in 2019, summer of 2019, and then
everything shut down. You know, obviously early to mid
2020 and then we didn't really wrap the movie until August of
2020. Like those were just the final
like insert shots or just things that like we just, you know,
it's the final pieces that are the most boring things to film.
You know, a shot of bloody hands, a bloody banana hitting
the ground, all the boring crap that you forgot to get when you
were actually in the middle of shooting.
So once we got those final clips and everything again, we started
in like March of 2019, didn't finish until August of 2020
because the pandemic and we were ready to kick that fucker to the
curb and just I'm done with psycho way, dude, I'm done on
this. I'm done watching rough cuts.
I'm done shooting insert shots. I am done.
And when you're, when you get to that point, it is kind of easier
to like detach yourself from the movie and be like, this is the
public's problem now. I'll promote the hell out of it.
You know, I'll do what I can to sell copies at conventions and
I'll, I'll send it around, you know, I'll send it to whenever I
get a new movie made, I, I submit it to online reviewers,
you know, like I'll just send it around and collect reviews.
And you know, I'm a self-taught promoter where the best way to
do it is, you know, back in even just a couple of years ago, like
20/17/2018, you know, IMDb was like the place to go for movies.
Right now we have Letterboxed and Letterbox is kind of a
miracle for indie film makers because people love Letterboxed
and indie people watch indie movies on Letterboxed.
So what I do now is I'll go to Letterbox and I'll look for my
films on there. I'll take screenshots and I'll
post those screenshots because again, they're not fabricated.
These are complete strangers on the Internet who found Psycho
Wave or Magnum Opus on YouTube or To Be or somewhere Night
Flight Plus. And I just post the screenshots.
And so the reviews, you know, speak for themselves, even the
bad ones. You know, that's one of the
things too is, you know, don't take yourself so seriously.
Don't be like really be consistical or conceited or you
know, we're all working on movies that are like $10,000 or
less or if you're lucky enough, you know, maybe at most $30,000.
I don't really know. That's still low budget.
That's still really low budget. So if someone doesn't like your
movie, don't take it personally. Maybe they're just the movie
wasn't for you or they have possibly high standards or
something. I mean, my advice is to try to
make a comedy anyway and make fun of yourself.
And I know that's not everybody's cup of tea.
That's mine. You know, it's sort of a self
satirical jab and Ed Wood and Troma style filmmaker.
That's just like my style and things I like.
But you know, some of the one star or zero star reviews that
we've gotten for Psycho Ape are almost funnier and better than
the four-star or five star. We live for the one star
reviews. You know, at 3B Video, we
literally when we cover a movie that is one of our segments
where we pull up one of the funniest, like whatever movie
we're covering and pull up one hilarious Amazon one star
review. And you know, like you said,
they are they're they're better than the I love this movie so
much. You know they're so.
Awesome. I mean it's.
Flattering to have a five star review sure, but when someone is
like it took me 3 days to watch an hour long film and it's like
well nobody told you you had to finish.
One of our favorites is that's what started it is my Co host
Evil was looking up reviews for Nightmare on Elm Street because
he that's his franchise and there was a review A1 star
review that was like somebody please tell me why I have to pay
for a movie that was made in 19 in 84 and we laughed so hard we
cried and. I do movies just become free
because they're 40 years old. Yeah, yeah, I don't know, but it
killed us and then it just. And we were like, you know what,
That's part of our thing now because we're going to spotlight
someone star reviews, but Tape Head is not without one star
reviews as well. So I.
Mean, you know, I've gotten one star reviews across the board,
like I've gotten one star reviews for Psycho 82 from
people who liked the first one, but you know the second the
sequel was not what they were expecting.
That's another thing too, is I would recommend not making the
movie that you want. Don't make the movie that you
think people want. Just make the movie that you
want to make. And if it isn't received well,
then that's on the audience. You know, at least you got to
make the thing that you wanted to make that you're proud of
because Psycho Whip 2 is a lot different than Psycho Whip One.
But that was by design because again, Psycho Whip 1 is a parody
of slasher movies and gorilla films.
And when we were done with the first one, I was done, done.
I did not want to do Psycho Whip Two.
I was done. I was like, dude, we spent a
year and a half fucking around, you know, killing people with
bananas, just 30 kills in the first movie or more, you know,
and so it was like, how many more times, how many more banana
related deaths can we come up with?
I'm I'm over it. So, you know, once we started
selling a lot of copies and the fan base kind of grew a little
bit, I was like, well, OK, they won't stop asking us about
psycho at 2 and what, what would that even look like?
Because I don't want to do the same movie again.
I can seriously, I just, I don't we did that already the first
time. So we not on purpose, but we
kind of did a Gremlins 2 approach where Gremlins 2 is Joe
Dante. He was given a blank check by
Warner Brothers to do whatever the hell he wanted.
So what did he do? He made a live action Looney
Tunes cartoon starring Gremlins and Gremlins 2 is a parody of
Gremlins. One in every in every.
Avenue. All of that is in the actual
movie. I like Gremlins 2 more than.
Gremlins, you gotta. I'm with you on that dude 100%.
But that wasn't what we didn't go into Psycho Wave 2 with that
mindset. That's just kind of what
happened because the fan base for Psycho Wave 1 was kind of
nuts. And we were just like, well, you
know, whatever we do, if it's not just the same movie all over
again, they're going to hate it regardless.
So let's just do what we want. So I pitched the idea of having
like a parody of courtroom dramas.
You know, I was like, well, how many horror sequels are based
around a courtroom where like Michael Myers is on trial or
Jason Voorhees is on trial or Chucky's on trial?
Could you imagine how stupid that would be?
It wouldn't, it wouldn't make any sense.
These characters can't talk or they're just, you know, he's a
doll. He could just go in a doll mode
and not speak. So I kind of thought that like,
well, wouldn't it be funny if they have Psychowape on trial,
he can't talk. And then we eventually we just
stole dialogue from a few good men and gave back to him.
So he can't talk for that scene, but otherwise he can't.
But so that was the idea was we want to do a live action
cartoon, Looney Tunes cartoon Gremlins 2 kind of inspired
courtroom drama parody, but in a psycho way film.
And it's it's it's even more than that.
It's like a weird 70s like hangout movie where nothing
really happens. The characters don't really want
anything. There's no real plot, there's no
real story, but that's all by design.
We just want to make something that was just kind of like the
complete opposite of what the audience was even like
expecting. And that's what I live for,
subverting expectations, like not getting people exactly what
they want. Because if it was just another
movie of like the ape killing thirty people with bananas
again, I would have been bored on set and I would have been
like, didn't want to do this. I'm bored.
I'm bored creatively. So that's why the second movie
is like a total like flip flop parody of the first movie.
And it's way more meta because like even halfway through the
film, there's a space balls inspired scene where the
characters are shilling VHS tapes from lunch eat DVDs and
trading cards and things that are are real.
Like you can't buy those things. But it's it's, it's totally just
like Psycho 2 is way more meta, self aware and a parody of
psycho ape, you know, and there's not too many sequels
that would have wanted or been like brave enough to do that
would have been themselves. And I I was very adamant about
if we're doing a Part 2, I'm not, I don't want to do the
first movie again. And I think a lot of people may
have been expecting the way that like, you know, when you watch
Evil Dead and then you watch Evil Dead 2, Evil Dead 2 is the
first movie kind of again, but with a much bigger budget.
Yeah. And it's, but we did Gremlins,
Gremlins 2. And I think that kind of threw
people off. And they were like, oh, we
thought maybe it was going to be a bigger budget, which means
like bigger kills, more nudity. And we we didn't do any of that.
Yeah. Well, you kind of touched on
this, but I mean with what you were just saying, but a lot of
you know, they say that our our filmography, our work is kind of
a reflection of like who we are, like what we like, what what we
love, like what makes up our DNA.
So I just, I mean, you basically answered it, but like, what do
your projects say about you as a filmmaker?
I mean, you already said you love to subvert expectations and
just be like, guess what, motherfucker, you thought this,
now have this and I love that. But yeah, you want to elaborate
on that a little bit? Well, again, I've gotten to a
point where I've made so many things that now I'm just kind of
experimenting. I just want to see what sticks,
if anything, if whatever weird thing I want to try and do finds
an audience. Because I've already made things
that have found an audience. And I just don't want to make
things over and over and over again that are like a sure
thing. Because where's the fun in that
creatively? I, I, I talked about this on
another podcast about two weeks ago.
I haven't talked. I mean, I've been posting stuff
about it on Facebook. So I mean, this is, this is kind
of an exclusive, I suppose. I started shooting Magnum Opus 2
over the summer. I bought myself a new 4K camera
like as a treat to myself. And I, I went into thinking
like, OK, I'm going to start shooting new stuff and it's
going to be for Magnum Opus 2. But after I got some footage in,
in the can, I started editing stuff.
I kind of realized that like, it's not really Magnet Opus 2.
It was more a bunch of scenes that were like weird food eating
things, like food contests and people eating weird stuff.
Like I went to a convention in Pittsburgh called Gross Fest and
director Daryl Hook was there. He's the director of Stoner
Snake and he was going to eat 20 hot dogs.
You know, I was going to film him, but he only mustered
through five. He didn't.
He couldn't finish at all. So the very next day there was
an actress there. I always get her name wrong.
It's Mel Heflin. I think.
I get the, I think it's Heflin, not an elephant, it's Heflin.
I get the F and the L Swanson. But she volunteered to try to
finish the rest of these hot dogs and so she ate about 7.
And there was still more hot dogs, though.
Another guy that was there, Dan Comeric, I see him at Cinema
Wasteland and Gross Fest. Super cool guy, super fun.
He volunteered try to eat the rest of the hot dogs.
He about 9 and I still had more hot dogs or I threw the rest
away. But now I had like 50 some
minutes of these people trying to eat hot dogs.
I took 50 minutes of this and I truncated it down to about 13
and I didn't want to cut anymore.
And I was like, you know what? 13 minute hot dog eating skit
and the Magnum Opus 2 isn't really like ideal to me because
I know this in an hour has like 60 some skits.
Tons of stuff. Tons.
They're fast, you know, it's fast-paced.
And I was like, yo, I don't want to bog down Magnum Opus 2 with a
13 minute long hot dog eating thing, so why don't I just make
this the opening of a different project?
So I just opened up a whole new project file and I stuck that as
the first thing. But then also that over the
summer I filmed a skit where the, the girl who defends
Ratatouille in Psycho Ape 1 and 2, she knew or was aware that I
was about to start shooting Magma was 2.
So she pitched me this idea of she wanted to eat a sand
sandwich where we go to a beach and we cover the bread with
peanut butter and she sprinkles sand all over the peanut butter
and eats a sand sandwich. So we went to the beach and we
did this, you know, she, we, I got the peanut butter and the
bread and her and her friends were already there.
And I filmed her for like 20-30 minutes, you know, lathering up
pieces of bread with peanut butter.
And she sprinkled sand on 1/2 and, you know, put it together
and she ate it, you know, and I filmed the whole thing, the
whole beginning to end of her putting peanut butter on there.
No heroin needles or anything in there, you know lots.
Lots of goose poop. It's pretty dirty beats, pretty
dirty beats. But then she made a second
sandwich, this time spreading peanut butter on one side and
taking the piece of bread and laying it flat down on the
beach. So the entire, it wasn't just
sprinkling sand on there this time it was a flat piece of
bread covered in peanut butter on the on the sand.
So every, every inch of that slice of bread had peanut butter
on it. And she ate that too.
So I cut that down into like a 7 minute segment.
So that 13 minutes that I already had now became 20 total.
And then I filmed another skit of.
Did she die? No, no, she was fine.
She was totally fine. And it was her idea too.
You know, it wasn't me pitching this to her.
She wanted to do it. And then we filmed another skit
of my roommate at the time. He volunteered to like put, we
put a blindfold on him and he was like eating a bowl of
popcorn. But while he was eating a bowl
of popcorn, we took an electric bug zapper, like one of those
big like tennis rackets, and we were like zapping them and the
elbow and the fingers and the toes while he was trying to eat
this popcorn. So then I kind of was like
putting all this together and I was like, I've got like 30
minutes of a movie here. And the theme is food.
Every single segment has food in some capacity.
I'm going to call it a hot dog, you mentary. 55 minutes of
people eating. Food nice.
The opening skit is hot dogs and the rest of the movie is just
going to be various other food items.
Like I have another skit where it's not even like eating food.
But the, the test footage for when I first bought that 4K
camera, I also went to a local, like, candy shop that had they
sold these like, gigantic lollipops, like huge ones that
you would see in like, you know, like the Munchkins and like in
the Lollipop Guild. Yeah, not not that big, but like
a medium size. And so I bought 3 and me and two
other friends of mine took turns smashing them over each other's
head like a Three Stooges skit. Those fuckers hurt, man.
And like they're, they're thick and like this shit's.
Like. Everywhere in like 4K.
And so it's really funny. Like so there's there's going to
be elements of like magnum opus in there of like, you know, us
smashing lollipops and getting zapped by an electric bug
zapper. So that.
Mix in a healthy dose of bodily harm, you know what I mean?
Yeah, yeah. It's the sort of because you
can't, I mean, my, again, my, my, my plan is to make it 55
minutes tops, because I'm still going to treat it like it's a
real movie, like it's a real release.
I'm going to send it to the same conventions that I go to because
I just imagine like it playing in some screening room off to
the side. Some guy wanders in with, you
know, some snacks or some beer. He watches about 15 minutes of
it and leaves, you know, and it's just what is this?
What is this weird thing? This isn't a real movie.
So it's kind of like, it's a new kind of art.
It's like a prank on the audience.
But also when I sit there and I watch this edited footage of
just people, like say I filmed another skit of a guy trying to
eat 100 tacos. He was so pumped and he was so
sure of himself that he could eat fucking 100 tacos.
And he taps out at 5:00. So I'm, I'm proving this like
weird sort of sights. It's, it's, it's, it's like a
weird thing where, you know, these people, they starve
themselves all day. And then once we get to like 5-6
PM, they haven't eaten all day. And then we try to like, get
them to down a bunch of hot dogs or a bunch of tacos.
They can't do it. And they tap out in the single
digits. And it's just kind of like, oh,
you know, this is a weird discovery.
And so I'm getting it to film. So it's a weird thing to have a
lot of bravado about, you know what I mean?
Like fuck you, I bet I can eat 100.
Right. And then they tap out at 5:00
and it's like, wait, what's going on?
I haven't eaten all day. Why can't I get past five tacos?
Well, cuz you got cameras in your face and yeah, there's the
stress of the moment. Yeah, I think.
The camera adds a little bit of anxiety, plus the fact that they
just said on camera I'm going to eat 20 hot dogs.
Very confidently, yeah. I I think once the camera is
out, and then you said on camera confidently, I can do this, and
then all of a sudden your stomach decides again, you know,
it turns against you and says, no, you can't.
Yeah, sorry dude. So that's my newest project that
I'm kind of like editing piece meal, like even, you know,
whenever I go to town to a convention, I bring my camera
with me. And you know, I have a couple
conventions coming up in the spring and summer and I'll bring
my camera. And if there's more, if there's
people there who want to, you know, participate like this guy
who I know he, he goes to, I see him at Cinema Wasteland every
year. He volunteered his son to eat
like 2 lbs of salami. And it's like you're, you're,
you're signing your son up for this.
He's. Ruining his weekend.
I'm going to pitch something to you for for this project.
Have you ever heard of miracle berries?
No, it's I will send you a link on Amazon.
My Co host brought them one time.
It's, it's M Berry miracle Berry tablets and you, you take these
tablets and you dissolve them on your tongue and it alters your
taste buds for like 20-30 minutes.
It coats. And so if you take, take
something like pickle juice and you drink it, it'll taste like
sugar water. Oh, interesting.
And it's so it does this really weird thing so you can eat
things that you normally wouldn't or, or whatever, you
know, because they get changes the flavor profile and it's
dude, it's crazy. You, you end up looking like
you're on acid. You know, you're like in the
kitchen, like, I wonder what peanut butter tastes like.
And you're like, taste it and you're like, it tastes like
whatever, like grape Jelly. Like it.
It really messes with your brain.
So it's it's kind of interesting.
And yeah, you should make people take those.
Yeah. I mean, it's not a drug.
It's OK. It's OK because I was like, I'm
not, I'm not taking any drugs, You know what I mean?
Yeah, I've got 35 minutes cut. You know, from all these
different things that I've tried, there's five minute or
there's five segments, 35 minutes cut.
And at 55 minutes, I'm going to pull the plug and say the movie
is over. Literally like, you know, I'm
improvising this movie as I go. You know, whatever segment I
film next, that'll just be the next segment.
And you know, I have ideas pre written.
If anybody, you know, if I can pitch this stuff to people and
they say yes, like somebody sent me a link to Amazon of all these
different, like flavors of weird sodas.
So there's a cake and soda ranch soda, black olive soda.
And it's a whole like, pack, you know.
And so I was planning on ordering that package of sodas
and seeing like in a, you know, who, who can, who wants to drink
some of these and just film their reactions.
And yeah, yeah. So eventually, once I got 20
more minutes of footage edited and then the movies done, it's
done. And it's going to go out into
the world and I'm going to see if it'll find an audience.
And if it flops, if it bombs, whatever, man.
I made what I wanted. Dude, you should pull a black
Christmas. And then so everyone is eating
and tasting weird things like, like you said, it's going to end
right at the 50 minute mark. You just pull the camera out
through the window, you know, just keep backing up.
Like whatever's still happening inside the house is still
happening inside the house. The end.
Yeah, dude, that sounds like an amazing project and I'm here for
it. I'm telling you right now.
It's definitely me and my most experimental and just like,
again, man, I've been doing movie riffing for so long and I
feel like I've done it. And we did 2 Psycho 8 movies.
So I kind of feel like I've done that.
You know, this was intended to be Magnum Opus 2, but then it
just kind of became like a food eating competition.
And it's like probably Magnum Opus 2, but I can turn into
something else that's unique and different.
And it's not horror. It's not narrative.
It's not even really comedy unless like except for like the
stunt part, you know, getting zapped.
Or I mean, I guess eating a nasty sand sandwich is funny,
but there, there are just like segments where it's just like a
guy eating 5 tacos. And it's not like it's not
really hilarious. Right.
But you know, it's, it's almost, it's a little mesmerizing to
watch, almost like like ASMR but like visual ASMR.
I don't know, it's really weird. I love it because it's a very
Andy Kaufman thing to do. And that's, you know, no one
else has to find it funny, you know what I mean?
But but you're sitting there and you're watching the audience,
like not get it. And that's fucking hilarious.
Again, it's also like TomTom Greenish.
It's, you know, Andy Warhol. Yeah, yeah.
He would just film stuff for long periods of time.
And so you could just watch the Empire State Building for 24
hours. So it's just kind of like, I
don't know, this is just my weird experimental project.
And if I sell 20 copies, I'll break even on it, you know?
I I love it. Can I ask him a question?
Yep, you can ask him a question. Can I get a cameo in Amityville
Doghouse? Oh, yeah, yeah, yeah.
We, we started writing at last summer and I mean, we were, we
were working on it at least once a week and we just kind of like
abandoned the script. But there's like 11 pages an
outline. There's like 11 pages of outline
written. We just needed we needed an
ending and we couldn't think of one that really like stuck the
landing because it's it's an absurd like almost sort of like
Naked Gun style or like, you know, Weird AL's UHF where I
want it to be kind of like a spoof movie, but with like a
barrage of spoofs and shit like that is hard to.
Write it. Really.
Because you need like, either a setup, a punchline, A payoff, or
you need to think of a gag and to think of like a ton of those
different styles or, you know, that style of comedy writing is
really tough. And we were exhausting ourselves
trying to think of like, OK, what's the next scene going to
be? What's the next scene going to
be? Because every scene is
essentially a non sequitur. There's no story.
You know, like there's an overarching idea, but there's no
real story because there's no real arcs in these kind of spoof
movies. A spoof movie behaves
differently than a real movie. There's there's just, you know,
scene, scene, scene, scene, scene.
And every single scene has to have the setup and pay off.
Yeah, and that's really hard to write.
So we did get 11 pages into writing that.
It still exists, you know, it's on my laptop, but we just sort
of abandoned it. I would like to make it someday.
You bring it back. The cellar dweller would love to
be in it, that's for sure. I.
Mean we had this whole thing where like, you know, my buddy
is like, you know, he, he he's trying to build a doghouse or
something, but he's got no carpentry skills and so then he
just finds one like at the curb and puts it in his backyard.
And so now his backyard is haunted, but like, you know, the
dog house, it's, you know, powers only extends to the
backyard. It can never really haunt inside
his house. So it's only like, well, just
don't go outside you. Know it's just blowing in the
backyard, yeah. It's blowing in the backyard or
bleeding all over the grass, and it's just like, OK, well, that's
ruining the lawn, but what else is it really doing?
It's not really doing anything. It kills birds that land on it,
you know? Right.
It's it's it's like we had a bunch of scenes of like
escalation of, OK, well, you know, I found a dead squirrel in
there. And then I found like, you know,
they find like a dead cat in there and then they find a whole
dead deer carcass picking out of the doghouse progressively just
like, you know, getting crazier and crazier.
And so like, then it's sort of it becomes, you know, almost
like Little Shop of Horrors where the owner gets sort of
mind linked, you know, to the dog house beating at people.
Like a night night swim, except good and.
Actually what what we were going for because we had just fucking
watched Night Swim and we were like, dude, that movie sucks.
Oh. Boy.
Wow. I don't normally say a movie
sucks, but wow. Yeah, yeah, let's combine Night
Swim with like Little Shop of Horrors and Amityville Horror.
And that's essentially what and like with, but with Naked Gun
UHF style kind of rapid fire their.
Gags. That's pure gold dude, I'm
telling you right. Yeah, we tried.
We tried and we got, like I said, we got 11 pages into that
outline and then we kind of burned ourselves out because we
when you're writing like that, sort of like at that pace and
you're coming up with like that much material and you are just
throwing shit at the wall to see what sticks.
Well then once you get to the end, you're like, why the end
this? What?
Exactly, Yeah. Why do you?
Because there's no, there's no real character arc in this
movie. It's just a bunch of stupid
scenes. So how do you end this?
What is the ending here? That would be satisfactory, you
know. Yeah, I mean essentially like
night Swim or even the original Amityville, like just go away
like. Yeah, it's.
Like the birds. My son and I make that joke all
the time. Like I love the birds, but it's
like, who knew? All you had to do was like get
in your car and drive away from the birds?
I didn't. Really think that would be
satisfactory enough for this kind of material.
Like it needs to be either like super, super, super nuts and
crazy or it is that simple where they just like, I don't know,
give it to somebody else or something.
I don't know. I have no.
Put it on the curb with free on it.
Yeah, set up the sequel. We couldn't get there.
We couldn't quite get there. Plus we were getting into like
we were spitting our wheels thinking of like the lore of the
doghouse, like where it came from and why it's haunted.
And then once you have like 3 people like with conflicting
ideas and wars and they're like, OK, maybe we need to take a step
back from this because we're not coming to an agreement here over
the lore of a haunted doghouse. I think we need to maybe take a
break. Oh my God, yeah.
I love it, dude. Yeah.
On that note, dude, we'll wrap this up.
We'll move to the last segment of the show called Hot Takes.
OK. It's sounding big sub hot takes
and I don't care if you like my hot takes 'cause.
These are my motherfucking. Hot takes.
Now for this, I have 10
different things AB choices for you.
This is the Deep Cut podcast and I would not be doing that name
justice if I did not do some deep cuts and scroll endlessly,
endlessly, endlessly through your social medias years and
years and years and years back finding things that you like,
you love, you care about and force you to choose between two
of them 10 different times. So that being said, and you can
either just rapid firearm or you can give the audience a reason,
you know, let them let them know why you choose what you choose
and why it means what it means to you #1 Don Doler versus David
the Rock Nelson. Oh, I picked David the Rock
Nelson. Yeah, I I figured you would, but
yeah. Yeah, that guy, he is.
I mean, he's obviously an oddball, but he's a hoot.
I kind of got turned on to his stuff in the summer of 2020 when
we were all locked down in quarantine.
And that guy is so old school. You know, he, he films his
movies and, you know, dupes them on tapes and is the copies of
his films because he'll just send you like a copy on DVD.
But it's, it's sourced from a tape that's been duped and duped
and duped and duped. So the, the source material is
so fucked up and hard to watch. And so you're just looking,
you're watching like a 15th generation VHS tape that's now
being like duped again. And so you're like, Oh, this is
really like my roommate. My like my one of my close
buddies. When we try to, I try to show
them this stuff and they, they want nothing to do with David
Rock Nelson. And and I can understand it's a
tough sit. It's an acquired taste for sure.
It's an acquired taste, man. It's like taking your coffee
black as hell, you know, No cream and sugar.
Like nothing at all, like nothing to soften the blow.
It is what it is. And he's a one man show.
That's what I like about him because he's a one man show.
He does everything himself. He's a writer, director, actor.
He dupes everything himself. He edits everything himself.
It's just him. It's purely him.
It's it's it's pure creativity distilled down from 160 year old
crazy man. Yeah.
He just wants to make these things.
He plays every character. He recycles footage from film to
film. Yeah.
And he'll he'll dub over what people are saying to fit the
story of his newest movie. So he's he's also very like he
just recycles. You know, he doesn't, he doesn't
waste anything. Like if you're if you're already
shot a scene where someone is like out and about on the town,
well, he'll just use that same shot in every movie because now
he never he in his mind. Well, I never needed a film.
Another new shot of someone running around on the town.
I have a shot and I have it for life.
So again, you're watching one of his newer movies.
It'll randomly cut to something from like 1993 and it's like,
wait a minute, you know that's I.
Recognize this I've. Seen that and it's six other
films. But I think it's very like,
creative. I think it's very interesting
and funny and weird. And also like when you send him
money, like, you know, you send him a check.
He doesn't have PayPal. He doesn't use credit cards.
Paper straight up, yeah. You got to look for his address
and if you send him a, you know, a check, you got to write down
which titles you want. You have to do your own math of
like, OK, well, this is the price that he wants and this is
the shipping. So you got to write all that
down. You got to, you got to figure it
out on your by yourself, you know, and then you send him a
check with however much what I did over the the summer of like
2020 was I sent him a check of like $100 and I was just like,
send me what you want. That's it.
Yeah. Here's our books.
And so my David Rock Nelson collection is pretty big because
I kept doing that. Now I've got about 9 or 10 of
his titles plus Saturn Core or Saturn score.
They're they're a brand that's attached to vinegar syndrome.
They licensed a bunch of his stuff, so they put out two David
Russon collections on Blu-ray. Yeah, but what's funny is,
again, it's on Blu-ray, but it's it's remasters of his crappy
VHS. So even though it's on Blu-ray,
it does not look any. Better no.
Sound any better? They didn't fix anything up,
it's just now they can fit more. And the thing that's crazy too
about his movies is that some of them can go up to 4 1/2.
Hours long. You know, it's 4 1/2 hours of
him playing with like, you know, toys because we know he doesn't
have any budget. So when he needs to illustrate,
like a dinosaur or some kind of big monster destroying a town,
it's his hands holding, you know, a rubber Ant smashing toy
tanks. And it's like, again, even
though he's like 60 years old, it's a very like, childlike way
of making movies. He's insane in the best way.
Yeah, I can relate to that. You know, yeah, that's, yeah,
You, you have, you nailed it. That's that's perfect, Yeah.
I met the guy once. I met him at a convention in
Chicago. Dude.
He's a monster. He's like jacked too.
Oh, yeah, he's a former boxer, and he still keeps up with his
regiments, so don't let his oddball behavior fool you.
He's not just some, like, you know, cellar dweller.
He's not just some nerd in the basement, like making these
weird monster movies, right? He could also probably kick the
shit out of you. Yeah.
He's a beast, that's for sure, but #2 Simpsons or South Park?
You know, I probably like maybe 10 years ago, 15 years ago would
have said South Park. But as I've gotten older, I, I'm
saying Simpsons now, because when you watch some of those
early seasons, like up until maybe like season 10 or 11, that
tonight, that's a me as some of the best comedy writing that's
ever been committed to television.
Because the people who were writing that show in the late
80s, early 90s are some of the most clever, like smartest,
funniest people. You know those people are like
Harvard graduates. They don't miss.
They don't miss, you know, they, they, they're from the, the
National Lampoon. So their, their sense of humor
is so smart, so clever. And we don't get that now
because they were sourcing their inspirations from classic comedy
from the 60s and 70s or even earlier than that at the 50s.
And so you have these writers who were in their 30s when they
were writing for The Simpsons and in the early 90s, but their
frame of reference is for stuff that's even beyond, you know,
our comprehension now, because you don't have access to that
kind of, or we, we do, but we don't, it's not the same for us.
But they grew up, you know, refining their skills based on
their, you know, their what they're referencing and what
influenced them. So for me, that's a time capsule
of some of the greatest comedy writing ever.
Like, South Park is great. South Park is hilarious.
But I, you know, I feel like they've become too reliant on
like topical humor. Then when you watch South Park
from 1520 years ago, it's not as relevant, it's not as funny
because you're like, oh, they're just referencing something in
pop culture that happened that week.
You like admire that. They turned that episode around
in six days at the time, like it was relevant to topical at the
time. But I prefer a longer lasting
comedy than pop culture. What's relevant now?
Comedy. I would say like with Simpsons,
like you said, the first ten seasons, I'd go even further,
you know, up to season 1617. Like my wife and I just had this
conversation the other day when it, when an episode from those
earlier seasons comes on, they're, they're like committed
to memory, You know what I mean? You, you hear one line of
dialogue and you're like, it's setting up this joke, this joke.
This is the episode where this happens.
Like, and you can sit, you can sit and watch it and say it
verbatim with it. And South Park for us, like we
love South Park, but probably like, you know, the 1st six or
seven seasons of South Park, those ones are like committed to
memory. But like you said, they start
kind of drifting and they're. For me, South Park kind of falls
off when they started to be able to really incorporate like fancy
animation into the show. To me, I miss the cardboard cut
out style. I like, you know, obviously I
like DIY, like rough around the edges.
You know, when they started incorporating like World of
Warcraft and stuff where they could like, you know, animate
certain angles they couldn't animate before, It's like, well,
you know, I don't really think that angle is that funny
looking. You know, I don't really think
that, you know, having World of Warcraft is really that funny.
That's more just like relevant and topical now.
But then in 20 years, are people going to remember World of
Warcraft? Is that going to be relevant?
And then you go back and you watch an old episode of The
Simpsons. And it's not that it's not like,
and like, you know, like you watch like an episode like with,
with, you know, Homer wanting to buy a gun, Like relevant or not,
that's a fucking hilarious episode because of everything
that happens. You know, the Poochie episode.
Oh my God, in Scratchy Land, like all this stuff, it's just
funny for the sake of being funny rather than satirizing
what's in the news. Yeah, I literally have a Homer
tattoo of him with the chainsaw and hockey mask and it says,
hey, Bart, want to see my new chainsaw and hockey mask?
Right. Like, you know, it's, it's stuff
like that where you'll you'll just endlessly, you're like,
this is comedy genius, you know, Yeah.
Well that was too is like I just watched this last month the
episode there's 2/2 of my top favorites are the Carney episode
when? With Ernest, right?
Yeah. Yeah, Jim Arney does the voice
of, I think Earl or Curl, whatever his name is, and they
invite him back to the house and they take over the house
squatting. You, you're squatting classical.
And it's just like, that's not topical, that's not political,
that's not relevant. It's just fucking funny.
Yeah, it's just awesome. Yeah, and so it's like the
episode when Homer becomes a truck driver after getting into
a steak eating competition with a guy guys.
And so he just like, you know, takes on the guys job and that
sounds like it's classic. It's just so sweet.
Or like the tobacco episode. Oh yeah, yeah, with the goats.
Get all crazy like zombies, Yeah.
Yeah, that that shit is just so funny.
And it's not referencing anything.
You don't have to have any sense of like what was going on in the
news at that time. That to me is just like when it
when comedy is. That's good.
It doesn't have to rely on any references or anything.
That's just you can just watch it and laugh.
That that makes it better. That makes it better to me.
Yeah, you shut your brain off and just have a good time.
Yeah, and it's the same thing, like modern Saturday Night Live.
Like I like SNLI think, but I prefer the sketches that are
weird and, like hilarious over their political stuff.
Like, I mean, I do like, you know, what they're doing with
Donald Trump and I do like, you know, Weekend Update, but that's
not my favorite part. My favorite is when you know
like Sarah Sherman are doing something strange or you know,
Bow and Yang is just doing something weird.
I just I want to see the weird sketches because to me like
weirdness and non sequiturs are way funnier and trying to prove
a point like whatever. Yeah, absolutely.
All right. This one for the people who are
listening or watching or however you're consuming this might not
know that Addison spends A considerable amount of time in a
motor vehicle. You, you do a lot of travel.
So this is a travel question because you have to drive all
the time. Worst driving weather,
torrential downpour or Blizzard because you are in all of them
all the time. They both have their pros and
cons. OK, I to be honest with you, and
this might sound weird, I would rather drive when it's not.
Maybe in a Blizzard, but snowing over rain because you can't see
anything on the road. When it's raining as fast as the
windshield wipers are going, you can't see anything.
Like with the torrential downpour, you're screwed.
Plus there's puddles and like, you know, I live in Michigan so
you know, people freak out when it starts snowing and they
forget what it's like to drive in winter weather.
So sometimes they just get the fuck off the road and I have to
deal with them. So and like I'm a pretty
confident driver and I do Uber Eats, I do Grubhub.
I've been doing that for about 5 years now.
Plus all the traveling I do and I've driven to Iowa, I've driven
to Delaware, I've driven to Chicago multiple times, all
these places multiple times, Ohio, Pittsburgh multiple times
for conventions and screenings of my movies and stuff.
And, you know, I've gotten a pretty good gauge as to like,
you know, what people like on the road in certain States and
speeds and all that kind of stuff.
And yeah, I think I'd rather drive in the rain than snow.
All right, clear cut, plain and simple.
Next one editing or cinematography?
Which one do you like more? Oh, that is actually kind of a
tough one. I think right now
cinematography, because I'm kind of burnt out on editing, comes
in waves. You know.
You know, like I said, I spent 10 years editing 133 episodes of
a movie ripping show. Plus I put together a
Magramopus, plus I made two episodes of your Masterpiece
Theatre. That's a lot of audio editing
and I, I wouldn't even consider myself like a professional audio
editor. It's just I am 1, you know, like
I have to do it. Out of necessity, yeah.
Necessity and I feel like I'm pretty decent at it.
I'm not a sound guy, but maybe I'm a pretty decent audio editor
and audio mixer. I just have crazy like ADHD for
that kind of stuff of like listening and making sure and
tweaking and trying to make sure that it's right.
But right now I actually, I think I like filming this eating
footage more than I do sitting down with it and cutting it.
Because like I said, trying to cut that stuff.
I shoot. The way that I've been filming
those segments is I don't lock the camera down.
It's all handheld and I'll just film 1 long continuous take of
me, like walking around the, you know, the person and zooming in,
zooming out and just getting different angles handheld.
But I won't ever cut and it'll just be like 20 minutes or 30
minutes or 50 minutes of one take.
And then I just upload it and they lay that one take on the
timeline and then I just chop it down into bits into what I'm
looking for. And so it might look like I have
coverage, it might look like I have close-ups and I did, but it
was all in one master like movement.
And so it has a weird kind of flow to it where it is very like
documentary. It is very like like free
flowing but the same time sitting there and editing 120
minute long take actually takes like 2.
Hours yeah yeah I got it I know cuz yeah with the podcast
everything is recorded baked into one yeah and just boy yeah
they. Give me a lot.
They can all right, next one this this I actually asked VHS
Mikey as well on an interview, but you guys both share a love
for both of these things. So puppets or stop motion?
Stop motion. Nice.
Just because I'm a King Kong guy at heart, you know, like that
original 1933 movie sparks creativity that you know when
you watch King Kong and you're 5 years old and then you're just
like, I want to fucking do that, You know, like I just want to
see and or like the the early like Sinbad movies at the golden
voyage of Sinbad and the seven the 7th.
Oh yeah, with the the Harryhausen.
Yeah, Harry, like Harryhausen for sure.
And then like I was a big Puppet Master fan, but I preferred all
the moments in the early movies that were stop motion made by.
There's a guy, his name is David Allen, and he did all the stop
motion stuff for Full Moon before he passed away.
So. And also one of my favorite TV
shows growing up was Celebrity Deathmatch, if you remember that
one. Yeah.
Oh yeah, absolutely. Oh, being a big, big fan of
like, King Kong, Sinbad, Puppet Master, a celebrity deathmatch?
Yeah, I'll pick stop motion. Have you ever experimented with
stop motion yourself? Yeah, but I wasn't very good at
it. I didn't have the patience for
it. Like I tried when I was a kid
and because I had a camera that I could just do like frame by
frame by frame. But when I realized just how
goddamn long it was going to take to like, do my own sort of
celebrity Deathmatch with like, action figures and stuff, I, I
abandoned Jiff away. Yeah, it's, it's a lot, man.
We did a little tiny, like 10 second tape head return of Jacob
Cobb promo and we had little rubber maggots.
And I was like, I'm going to stop motion these crawling
around and going in the hole of the mask.
And it took like 6 hours. And it's like maybe, yeah, maybe
4 seconds of actual stop motion. And then, like a title card, you
know, and you're like, oh, kill me now.
Yeah. I couldn't imagine like
articulated things. Or jumping or like, you know,
like the actual battle, you know, like, like in Jason and
the Argonauts when they're fighting all the skeletons and
stuff. Yeah.
'Cause you got to paint out all the like things that are holding
them up too, right? Essentially so.
Frame by frame. Like, you know, I'm a meticulous
editor and I can edit frame by frame and I can edit audio frame
by frame, but I don't, I'm just, I'm not built for stop motion.
Yeah, man, maybe one day, maybe one day we'll lock ourselves in
a room and make something. Crazy.
I'll hire somebody else to. Do that.
I'll check in periodically. Bring them coffee.
Yeah. All right.
Next one Congo or Jurassic Park? Oh, easily.
Jurassic Park. Congo's a joke, you know, like
I, I joke about Congo a lot, you know, like, you know, they're in
the cycle. It opens with, you know, Kansas
bowling at her teenage slumber party with legitimate Congo
board game that I found at a thrift shop like that week, you
know, like I just happened to go to a thrift stop and I found
that and I was like, we're shooting Psycho wave this week.
We'll incorporated into the opening slumber party sequence.
Like that was just how improvised that movie was.
Was I found that, you know, but it's, it's like missing the game
pieces. You know, it's incomplete when
they're playing it in the movie, like they're not playing at the
right way because the, the, the, the pieces are all gone.
But no, I mean, I've even, I did an episode of rainy afternoon on
Congo. It's it's more of a like
nostalgic sort of like, wow, that movie is so dumb.
And so it's, it's, it's pretty boring too.
Like that's The thing is that despite it being a pretty big
box office success, like it did make it did make a lot of.
Money. It did.
Yeah. It had toy line and like you
said, a board game and yeah. Board game.
I mean, Taco Bell had a licensing agreement with it and
they sold like volcano tacos and stuff in 1995.
But it's not a good movie. It's just it's not a good movie.
Breaking my heart. But I love the ending with the
lasers. Dude, yeah, the lasers are rad.
My Co host also, every time I bring up Congo, he's like, that
movie sucks. And I'm like, dude, I I don't
know what it is. I got a super soft spot for
Congo. Is it better than Jurassic Park?
No, but not not even in the slightest.
But boy, it's a stupid fun. I will.
Tell, I mean, I will say that, you know, I think an ideal 90s
like monster movie double feature is if you probably
paired up Congo with Anaconda. Nice, and you're gonna have a
good afternoon. Yeah, I also love Anaconda and I
will fight you do to the death. On I might be on Quanda more
than Congo but I have both on 4K so I don't want to say anything.
Is snakes out there this big all day?
All day. All right.
Next question, Tom Green, Andy Milanakis.
Oh, definitely Tom Green. I found Andy Milanakis pretty
obnoxious. Yeah, that was a ringer
question. But yeah, I know, I know your
your love for Tom Green. Same here with us.
We are massive Tom Green marks. Yeah, I think he can do no
wrong. I also think he's an incredible
lyricist. Just a sidebar.
He can rap his ass off. So.
Yeah, well, you know that, you know, before he even did like
stand up comedy or anything like a public access TV, He did like
he, he, he made a rap album with like a group of friends in
Canada in like the early 90s way before he was on public access.
Check the OR baby. Yeah.
So you know, his his roots are in like, you know, rap music.
Yeah. And public.
Discounted a lot, yeah. And so now actually, he's not a
he's not, he doesn't rap anymore, but he still does
music. Like he's been doing a lot of
country stuff because now he like bought a home, you know, in
Canada, way, way out in the country.
He has a farm of like a mule and everything and he and all this
stuff. So he, he's definitely has
transformed himself into a Canadian farmer away from the
glitz and glamour of Hollywood. But he still tours and does
stand up, and now he makes country songs.
Yeah, that's, I mean full circle.
You know, you grow up and now he's I watched that documentary,
you know, he moved out there and he's just kind of living and
loving life and, you know, doing going back to doing stand up and
shows and it's refreshing. It's he's a, he's a definite
like inspiration for a lot of a lot of guys our age for sure.
Well, yeah, I mean, it's total. Like, you know, he did the Tom
Green show, right? And it was a big smash success.
And then randomly Paramount, I think 2000 Fox, they give him
like $20 million to make some movie, but whatever he wants,
like he has like to be as weird and crazy as he wants.
And you know, he so he delivers this product that is as crazy
and offensive as what he thought they wanted.
And, you know, much to his surprise, it ended up being this
big box office bomb. It offends everybody.
And he is, you know, left scratching his head.
Like I thought this was what people wanted from me.
I thought this was something sort of like what you were
expecting from me. Isn't this like what you paid me
to do? What were you expecting?
Shakespeare? Like this isn't like he wasn't
about to just make some like drama piece or whatever it was
as it was in tune with everything he was doing that MTV
anyway. Perhaps maybe he went too
extreme at the time or I think actually probably what it was
was, you know, making an R rated movie that was like that, absurd
and disgusting and offensive. His audience members were not
old enough to go see. Yeah, I also think like because
he he broke so many rules with that movie.
Like he doesn't, if you look at the comedies of that time, you
know, and, and still, even though comedies are terrible
now, but like they, they all kind of follow that's there's a
structure to a comedy film. And and with Tom Green's movie,
he's like, I don't really care about that structure.
Like it's gonna it's gonna go this way because I want it to go
this way. And like your standard movie
going audience, their brain is in tune to like this is how
movies are supposed to be exactly.
So I think it'll find it's like second win it.
Needs to be released on Blu-ray or 4K and all that stuff.
But he has no control over any of that right?
Cuz when I met him almost two years ago, he said that, you
know, he wasn't even notified that the movie was like
available to stream or anything. Like nobody reached out to him.
It was fans telling him like, hey, your movie gets, it's on
the Criterion Channel, you know, or hey, your movie's on Hulu,
which also means it's on Disney Plus because those two are
collected now. He had no idea.
No one, no one let him know because they don't have to.
You know they own it. It's their product.
Yeah, it's it's a studio movie. So he delivered his product,
Product. And they can do with it what
they want, but they don't. They're not obligated to let
them know. Anything.
You know, maybe we'll get some residuals here and there, but
they'll they won't ever, no studio will ever tell a director
unless you're like, you know, bagging or bugging them, you
know, or like, unless you're like really in with the studio,
they're probably not going to let you know that your movie
from 20 years ago is like, oh, it's on this streaming
ServiceNow. It's on that streaming
ServiceNow. They're not going to do.
That Yeah, Nope. All right.
Next one. This is a little bit of new
versus old. So Sinners, or From Dusk Till
Dawn. I will have to still go with
From Dusk Till Dawn because I saw that in a pretty formative
age, you know, like getting into Tarantino and you're just
renting everything that its name is attached to.
I didn't really know that you could do a movie like that
where, you know, you could have a movie with two distinct
halves, a really cool crime thriller for the first half and
then a buck wild vampire movie in the 2nd.
And they're, you know, stapled together with arguably the
sexiest striptease or and sexy dance with Salma Hayek like,
ever. I mean, I defy you to find me a
scene that beats that. Yeah, I'm with you.
I did really, really enjoy Sinners.
But when I was watching Sinners, that's what I just kept going
back to was I'm like, man, this is a lot like From dusk Till
Dawn because we have two distinct halves happening.
And the vampire movies. Yeah, yeah.
And but yeah, I just From Dusk Till Dawn to me doesn't get the
the love or the respect that it deserves.
I mean, it's got like, it's got its core, like cult fan base,
but a lot of Tarantino fans don't, you know?
I think what sort of hurts the film is unfortunately,
Tarantino. I don't think his performance is
very good in the movie. He's very over the top, yeah.
Isn't he what when he is in a movie, it kind of takes away
from like, oh, I'm watching what I'm supposed to be watching, you
know, quote UN quote movie. And now it's like, oh, I'm no
longer watching a movie. I'm watching a Quentin Tarantino
movie. Gotcha.
When you know, when he shows up in like death proof as the
bartender, it's like, Oh yeah, this is like a Quentin Tarantino
film as it wasn't an obvious already, but now it's sort of
like, yeah, now he's trying to act and he's not a very good
actor. Like stick to writing and
directing. Like that's that's fine.
You could stay in your lane, but he's not a very good actor, and
that's as a super big Tarantino. Fan I love life.
But like in From Dusto Dawn, it just kind of seems like, you
know, I don't know who else he would have cast, but he's sort
of hurts the film a little bit. His performance is a little
like, awkward. And also, you know, a lot of the
special effects and stuff in the movie were relatively new, like
the, the, the vampire transformations and when they're
being staked and melting, you know, it's the product of its
time. It looks like 19941995, you
know, whatever the movie was made.
And I think that hurts it a little bit too.
But it's, it's also passable because, well, this is like a
grindhouse type of film. It was sort of grindhouse before
grindhouse, but in one movie rather than two directors making
2 movies. But it sort of was a precursor
of things to come. But I think also because it
defies most storytelling structures of like, you get two
different kinds, two different genres in one film, and you
don't get that with very many movies.
I think it throws a lot of people off.
Yeah, it's, it's refreshing. Like I for me, like if, you
know, if you like that kind of thing, like then you're like all
in on it. But I can definitely see how it
would turn some people off. I've got buddies who like the
love the first half and then like as soon as the vampires
show up, man, I'm I'm out. Or I've got buddies who hate the
opening half and just want it to be a horror movie, like a
schlocky, you know, B movie fighting vampires.
And I just I love the marriage of both of them.
And for the for the people who don't like, you know, how
Tarantino acts in it, at least he gets, I mean, so you got to
hold another hour, you know what I'm saying?
So, you know. But yeah, I'm with you on From
Dusk till Dawn over Sinners. Oh yeah.
It's just because in my heart I'm a sleazy.
I'm a lover of sleaze, I'm a lover of clock, I'm a lover of
grindhouse, Dr. and B movies. And Sinners is classy and even I
like that movie a lot. I bought the 4K.
Yeah, you know, when it comes to schlock and B movie violence and
gore and gross stuff, I would have.
Picked that, you know, also, I think I mean, I'm going to be 42
in June and I know we're like you said, we're close in age.
We're very close in age seeing From Dusk Till dawn because I
remember renting it on VHS when it when it first came out.
So 95 on VHS. So I'm an 11 year old kid.
They let rent that movie. Yeah.
And like, there's constant sleeze and, you know, as a young
boy, you're like, Oh my God. Like it really it's, it's like
checking all the boxes. Like I have nudity, I have gore,
I have like crazy violence just like so over the top.
And it like no pun intended, like it sinks its fangs into you
and you're just like, that's, it's, that's the shit.
I I want more movies like that, you know?
Are there more movies like this? You know, and that because it
was a mainstream movie, you know, it was released like Air
Max. It was put out in theaters.
I don't know how well it did. It must have did done OK.
I mean they did to direct video. Sequels and ATV show yeah, yeah.
And ATV show much later, but, I mean, it must have made some
kind of dents financially. It must have done something.
But I think also, yeah, at the time, in the glut of the mid
90s, you weren't really getting movies like that because
everything had become sanitized. Yeah.
So again, it was kind of like audiences at the time were more
accustomed to cleaner horror. Thrillers were what they were
calling them, not slashers, not just vampire movies.
That stuff had gone away. It was no longer the 80s.
It was no longer the heyday of like, Wes Craven and David
Cronenberg. I mean, like, that kind of
horror wouldn't really come back until like the late 90s, early
2000s when it was kind of OK to be gross again.
Yeah, for sure. All right, next question.
Also, 2 movies. Got to make you choose between 2
movies. American movie or brutal
massacre? I don't know if I've ever seen
brutal massacre. Oh, shit.
OK. I just for some reason, I assume
David Naughton. Oh, wow.
OK, so it's definitely going to be American movie for you.
I yeah, yeah. I got to send you a copy of
Brutal Massacre, bro. It'll change your life.
I think, I mean, I think I'm familiar with it, I've just
never seen it because it is a movie about making a movie.
Right. Yes, yeah.
But it's it's fictional, like it's not.
It's not a real movie like American movie is a.
Real, right, Because if because I definitely like movies about
making movies, you know what I mean?
Like if you would ask me like American Movie or Ed Wood, and
then I wouldn't know what to tell.
You. Yeah, Yeah.
Deal with that. How about that?
Yeah. Something like that because you
know you have fictional versus reality.
Like I love American movie, but I also love Ed Wood and it's
actually my favorite Tim Burton film.
Or you could even throw in like Tara Firmer is my favorite
trauma movie because it's a trauma movie about making a
trauma movie. And that is, I would say that
movie in particular was sort of the movie that made me want to
make slow budget splatter movies.
Dude we are simpatico 100%. I saw Terra Firmer when I was in
high school. I bought the two disc DVD that
Troma put out immediately while watching the special features.
My best friends and I wrote the script for the first movie we
made. We made a movie in high school
called A Killer Night Out and it was because of Terra Firmer
100%. Yeah.
Oh, yeah. I, when I was in middle school,
I got into trauma. Like I bought the book.
You know, all I need to know about filmmaking.
I learned Toxic Avenger. I read that book and I wrote a
book report about that book. Nice.
And then you could write in your.
I had an English class where you could write any, any persuasive
speech topic you could choose. You know what I mean?
Like, you got to persuade the class to either dislike
something or like something. And so I wrote a glowing review
of the movie Tara Firmer. Again, I was 12 years old.
And so my opening, you know, statement was basically like,
hey, you know, if you love movies with hardcore violence
and gratuitous nudity, like, you'll love Tara Firmer.
And you can hear a pin drop. But my teacher was horrified,
you know? And so I give you my review
about why Tara Firmer was so amazing and why you should watch
it. And she sent me home with like,
a note that my parents had to sign to acknowledge.
Like, yes, my son is watching this kind of filth.
You know, of course. But I should have gotten an A
from my report. I think I was.
Disqualified or something, I don't remember.
I should have gotten an A because my persuasive speech led
to at least two or three classmates wanting to rent my
terror firm or DVD from me. Nice.
I won. I won.
Yeah. And so that that my same double
disc DVD has been kicked around and handed around to multiple
people that scratch the shit I've bought in every
subsequence. You know, Blu-ray and special
edition, We're getting that zombies of that movie.
We're getting that super cool special edition is vinegar
syndrome putting that out that I just saw it was announced like 2
days ago or something and I was like I already.
Pre-ordered it I. Was like, yeah, but I bookmarked
it. I didn't pre-order it yet
because, you know, Christmas was tough, but, you know, I, I.
Pre-order that sucker because 4K Terra firmer handled
professionally by vinegar syndrome.
Like, great, because the Blu-ray that Troma put out isn't the
greatest looking transfer. It's a little washed out.
And they took the aspect ratio and they squeezed it to make it
full frame. So you're getting stuff at the
bottom and top cropped off. And as a, as a, as a movie, as
a, as a person who's seen that movie multiple times, I know
what's missing. Yeah, You know, I could tell
easily just by looking at my TVI was like, hey, there should be
like, like text at the bottom here or like, you know, there's
jokes throughout the movie where like boom mics like.
Dip in, dip in, Yeah. But that's part of the joke.
It's not a mistake. Yeah, it's part of the joke of
like, hey, this is a film crew, a crappy film crew making a
crappy movie. So of course the boom mic is
going to be visible in multiple shots.
That's all ingrained into the film.
So the fact they cropped it, now you don't see that boom mic
anymore. You're missing jokes.
Yeah, and that's a bummer. So holding the text, like I
said, like when the text at the bottom gets cropped out, you
can't read it. And it's like, oh, you guys, you
kind of fumble this release. Hopefully vinegar syndromes just
blows everything out of the water and then we're like, this
is the new definitive. Bad boy, it needs a definitive
version. The only regret or my only thing
that they didn't do was include the R rated cut as a bonus
feature on a Blu-ray because I don't know if you've ever seen
the R rated cut of tariff. It's on that two disc, yeah.
I don't think it is. Well, it was available
separately as a two. It is.
You had to get them separate. It's not on there as a bonus
feature, but there are deleted scenes.
But the R rated version is only like 98 minutes or 92 minutes.
So it's missing like 15 to 20 minutes of material.
And we're talking like from the get go, like the woman who was
reading a book and the killer rips open her stomach and rips
out the fetus. There's a freeze frame.
And Lloyd steps in because they shot him on a green screen.
And so now he's he's in the movie talking to you.
And so he's like, hey, you know, like you're watching the R rated
MPAA approved version of Terra Firmer.
And so you're going to see me throughout the movie explaining
to you what it is that you're missing out on just by the
unrated director's cut. Yeah.
And it's. Glorious.
There's a scene later on where, you know, Lloyd, being the blind
director, goes into a bathroom and starts peeing on stuff and,
you know, it's urine is spraying all over the place.
So again, when he steps in the bathroom, there's a freeze frame
and it cuts to Lloyd, you know, in the Troma office.
And he's like, to illustrate to you what I'm doing in this scene
here, I had a bucket of peas. And here is, you know, one of
the cast members from the scene of the movie.
And he's like with a handful of peas, throwing them at the cast
member like I'm peeing on. Yes.
And so that's how the movie plays out is significant.
You know, all the nudity is cut out.
All the Gora's cut out. It's like you're watching ATV
cut. I need it just for the gags
though. I need that version because.
Yeah, gags are hilarious because like I said, they they it would
cut to Lloyd. Either he walks into the frame
like shot separately in a green screen but now he's in the
movie, or it's them cutting to the Troma building and he's
doing shenanigans to re enact what you should be seeing but
got cut. And so I wish that that version
could have been included on the Blu-ray release just as a bonus
feature. Like it doesn't have to be in
4K, didn't have to transfer all that, but just stick it on there
as a bonus feature. Like what's the harm?
Right, I need it and I'm going to.
EBay, it's hard to find now. Nowadays it's really hard to
find. I regret because when I started
doing for Masterpiece Theatre back in like 20/17/2018, I would
be at the Troma booth selling copies of Masterpiece Theater
coming at the end of the weekend.
Because this was unpaid. Like volunteering at the trauma
booth at conventions, right? It just means that you're a
volunteer. You pay your own way, your own
gas, buy buy your own food. You pay for your own hotel room
and at the end of the weekend you get rewarded.
But you can grab a couple DVDs off the table, you know, you get
like 3 to 5, you know, and they're freebies for your hard
work. But I also was making money by
selling copies of from Ashley's Theatre.
So he was balancing out, you know, I was making money doing
my own stuff, selling my own stuff, but also I would get
freebies. But for a minute they did have
like some R rated terror firmers on the table and I passed them
up thinking, oh, they'll always have those, right?
Not the case because after one particular show, they never got
him in again. And so I would ask the guy, his
name is Ron. And he's kind of like, you know,
the, the leader of the Troma booth for Midwest conventions
and stuff. I asked him one time, I was
like, so do you think you'll ever get any more R rated terror
farmers? And he was like, I don't know.
I mean, they don't really. What we had was what we had for
a long time and then once we kind of sold out.
I don't think they're making it. Yeah, because it's like it goes
out of print and it's. Essentially, you know, trauma
operates month by month with a monthly budget.
You know what I mean? So let's say their monthly
budget is like a couple $1000. Are they going to pay to
manufacture copies of an older movie on DVD, or are they going
to use the same money to put out new releases?
Exactly. They're going to put out new
releases because not guaranteed that that dozen copies of our
rated tariff firm are going to sell right away.
They might sell over the course of time, you know, one to two
years over time. But those new releases that they
invest money into, those will probably fly off the shelf.
Yeah, absolutely. Yeah.
And that's why. So that's the whole argument
with physical media is like when something comes out, you
especially an indie or, you know, low budget movie, snatch
it up because it's not going to just, it's not just going to be
there forever. You can't just be like, yeah,
and then I'll grab it six months from now, or I'll grab it
whenever. Like they're making a limited
run and then they disappear. And if you're lucky enough to
have one, you're lucky enough to have one, so.
Yeah, Snicker Syndrome will put out like 2000 units of one
particular title. Sometimes that's all they're
like allotted, you know what I mean?
Like because they make a license with the company or the
producer, whoever the distributor who owns the title
of that movie. And so we're only allotted 2000
units or 1500 units. And once they sell out of those
again, they either have to strike up a whole new licensing
deal and order 1500 units again or 2000 units again.
And sometimes it's not worth it because they may have sold out
of those 1500 units or 2000 units the first time, but maybe
the second go around, they only sell like 500 copies because
those were just the lingerers or the people who get in the 1st
run. So, but sometimes that's just
all they're allotted. And sometimes that's what the
number is picked by the, by the distributor, by the producer, by
7 films. Recently put out a whole batch
of Russ Meyer movies. And I don't know if they have, I
don't know if those are limited. That kind of seems like that's
going to be part of their library for some time because
they struck a pretty expensive deal.
But with liquor syndrome, sometimes, yes, those movies,
you got to get them first a month because that's when their
new releases drop. It's the first of the month I
missed out on. They put out in their partner
label, they put out this Western that I really love called The
Great Silence, and I missed out on it.
It's a fantastic western. Like if you like the Hateful 8
angle Unchained, well, The Great Silence is a spaghetti Western
that you could totally tell that Tarantino absorbed like a sponge
and spat it back out to you all Tarantino, you know, eyes.
It's it's it's the precursor to the hateful 8 like, but it's
like this really obscure spaghetti Western starring crap.
What's his name? I don't not look here.
Klaus Ginsky. OK, he's the main bad.
Guy in this the crawl space guy? Yeah, yeah.
He is fantastic, and it's a Great Western if you like
spaghetti Westerns. The whole thing takes place in
the snow, and so it's like, Oh yeah, Tarantino has seen this.
He was making marks, yeah. Right, He didn't think the
general public would ever get this on Blu-ray.
But not I mean, but they they sold out man.
And I was like, damn it because I have a DVD, but it's a bootleg
DVD 10 years ago. We've never, I don't think got
an official like cleaned up 4K print.
That sucker sold out on day one. You just Sol man, now you got to
fucking hover over eBay and hope some Jackass sells it and
doesn't know what they have, you know?
They know. They know, yeah.
They do. I'm not paying $100.
For it, the scalpers, yeah, they buy 7 copies of it and then sell
them, you know. Yeah, 100 bucks each.
Dick heads. All right, last question is a
scream Queen question for you. Linnea Quigley.
Barbara Crampton. I love both.
But all four of them, I love all four of them just.
Yeah, I will. I will pick Linnea just because
Return of the Living Dead. I go back and forth between
Return of the Living Dead and Dawn of the Dead.
Those are my two favorite films and I love them equally for
different reasons. Return of the Living Dead is
like a satirical comedy, although the horror works too.
Yes. And Dawn of the Dead is an
action horror, like black comedy, you know, And it's more
like, it's fun, it's funny, but the horror is more like, you
know, social. And it has a statement that it's
wanting to say. But Return of the Living Dead is
pure popcorn. Like, yeah, punk rock
entertainment. It's punk rock entertainment.
And so I love both for different reasons.
But I I will, you know, say that Linnea, she's also been in more
movies that I genuinely love, like Night of the Demons and
Silent Night, Deadly Night. And I even like, you know, the
Charles Band, or not Charles Band, but the David de Coto film
released by Full Moon Creepazoid.
Yeah, Creepazoids for sure. Yeah.
That's a dumb like alien RIP off.
I don't care man, it's a fun one.
Yeah, it's a good one. And it was not like 3 days, you
know, And she's, she's great in it.
Yeah, I reviewed that on the channel years back.
I'm, I'm also with you. I'm a Linnea Quigley Mark for
sure. Yeah, yeah, yeah.
Although yeah, still Barbara Crampton though, I mean, re
Animator, Castle Freak, you can't go wrong with those.
Fantastic. And those movies are fantastic.
Even like small stuff like you're next, you know, I mean,
she's amazing in your next. Yeah, I really, I've been really
enjoying watching her, like comeback career over the past
couple of years, like was in that movie Jacob's wife Jacob's.
Wife. Yeah, with Larry Fessen, Ben.
Right. That was a really good movie.
Yeah. And I know she's been producing
things like the Castle Freak remake, which was cool.
She did. Suitable flesh.
Yeah, with Jo Lynch. She plays Suitable Flesh, so
even when she's not on camera, her, the movies that she's like
betting on and producing are really good too.
Yeah. So, you know, I, I've been
really enjoying seeing like that side of her, like creative
career. Yeah, yeah, yeah, she's, she's
rad. I think she had something to do
with The Creepshow series as well.
I know she was in an episode but I think she had some sort of
like it seems like. She's been working a lot with
Shutter, you know, like movie I think with Shutter produced and
Castle Freak maybe even been Shutter produced as well.
So I think she's just in with Shutter and so it doesn't, it
doesn't surprise me that she had something to do with Creepshow.
Yeah, I suppose since we've gone through all the hot takes and
I've picked your brain forever and we had to deal with
technical issues and all of that stuff.
Before we wrap this up, Sir, just hit everybody that's
listening, watching whatever, with where to find you, how to
get ahold of all of your stuff, where to watch it and, you know,
do the old shameless plug and then I'll let you go.
You'll live your life, Sir. All right, well, I mean, it's
just my name. Addison Bennick on like
Facebook, Instagram, Twitter. I mean, there's probably like
under score on Twitter or something or Instagram, but it's
just my name. It's really easy to find.
I sell all my stuff on eBay, including like, you know,
compilation collections of my movies to watch in a rainy
afternoon. And Psych Wave 1 and 2 are on
there. You know, there's Smash Theater
1 and 2 Magnum Opus. All those Blu rays and DVDs are
on my eBay page. There's tons of free content.
Magnet Opus is free on YouTube, plus all my rainy afternoon
stuff, plus the music videos and shorts and things that I've
never even really made it to physical media, but they're
there and I've been doing this a long time.
All this stuff is still there. You know, I go to conventions
like Cinema Wasteland in Strongsville, OH, every April
and October. I go to Days of the Dead in
Chicago every once in a while. You know, whenever there's a
convention, whenever there's like, whenever I can afford it
really, because it's an investment.
I go to Gross Fest in Pittsburgh every year, every August when
they have it. That's a really fun convention.
That's it's made by indie fans. Like for the indie fans, yes,
you know these places, they, they're great because they let
you submit your movies for free to play.
Play over the weekend like Cinema Wasteland and Gross Fest.
You know I can submit any silly project I want and almost
guarantee they're going to play it.
I love that. Yeah.
And there's no submission, you know, there's nothing there's.
No film freeway business going on.
No, no, no. Yeah.
You know, unlike Horror Hound or Days of the Dead when they want
$60.00 just to reject you. Yeah.
You know. That hurts real bad, let me just
say. That sucks, but yeah.
So these places are free. You know, if you're an
independent filmmaker and you want to send your place, you
don't even have to go. You don't even have to attend
these places. They just they want movies.
They because these these conventions, they go from
Friday, they start like four or five in the afternoon and they
go all the way till Sunday before or five in the afternoon.
And they just want movies to screen all throughout the
weekend. And you know, it's not up to
them. They don't pick and choose based
on like preference or it's not a popularity contest.
It's it's just they, they want to show your indie stuff.
That's what they want. And you can submit it for free
and you know, they're old school, so you got to send a DVD
or Blu-ray for like Gross Fest is fine, but like Cinema
Wasteland is DVD only, no digital shit.
They're so old school that they just don't do digital.
And so but you're going to get your movie play and you're going
to be in attendance. You don't have to be there.
You don't have to have a booth selling your movie because
people are going to go check it out because one of these
conventions, they get their autographs, they buy their
stuff, but then they have time to kill.
They have a couple beers, maybe get some nachos or some hot
dogs. And then they go to the
screening room and see what's playing.
And you know, even if you're not there shilling your wares,
they're gonna, they're gonna watch a chunk of your movie,
5-10 minutes of your movie. And then if it's memorable
enough, it's it's weird enough, crazy enough, they'll remember
your movie. Right.
Absolutely. So do that anybody listening
watching submit your movies. Huh.
It's been awesome having you, dude.
For real. Yeah, despite, like I said,
technical issues that drove me insane to the brink of.
No worries, man. Haven't.
But you're the man and I, I can't thank you enough for doing
this. On that note, I suppose we
should probably get going because after all, there's a lot
of movies out there and somebody's got to watch them, so
why not us, right? Yeah, absolutely.
Thank you for listening to the Deep Cut podcast.
We sure had a blast trying to make you all laugh.
You gotta set your reminders and get ready to geek 'cause there's
a brand new episode every two. Weeks.
Now that you're done with the show, leave a comment on that
shit and let us know your movie prop pic.
Find it on Spotify with tons of episodes.
Excellent shows that'll make your head explode every. 2.
Weeks there's a new episode, so rate US and subscribe to the
Deep Cut Park. Every two weeks there's a new
episode, so rate US and subscribe to the Deep Cut Park.
Every two weeks, every two weeks, every two.
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