Episode Transcript
[00:00:00] Speaker A: Welcome back to the Keeps and Tights podcast right here on keepsandtights.com I'm your host, Justin Soderbergh. This episode is once again brought to you by our friends at Galactic Comics and Collectibles at galactic comics and collectibles.com this episode we see the return of John Campipiano in the first time appearance of Gary Smart. The two of them are filmmakers. Gary Smart and John Campipiano are documentary filmmakers who have written, directed and produced films such as the series Robo Doc featuring behind the scenes and historical look at the Robocop movie as well as Pennywise, a story of it from Stephen King's it movie from the 1990s as well as they teamed up and co directed and produced the released a new movie called Art Attack, The Dissection of Terrifier 3, which is a documentary about the Terrifier 3 movie and the franchise as a whole, which is now streaming on Screenbox. So we discussed making documentaries, making the Terrifier 3 documentary opposed to ones they make themselves and so much more. This is Gary Smart and John Campiano on the Capes and Tights podcast. Enjoy, everyone.
Welcome to the podcast, gentlemen. How are you two today? Hopefully good.
[00:01:14] Speaker B: Yeah. Glad to be finally here.
[00:01:16] Speaker A: Exactly. Well, man, I'm glad, I'm glad, I'm glad. It is. It's always one of those weird things. It's like trying to figure out time zones. It's like, it's like we should have learned this years ago. And I'm like, thank God there's Google though, because I can be like, what time is it now in London?
[00:01:29] Speaker B: I blame you guys because obviously over here it's quite easy. But when you deal in the States, you're a different time zone. You're different time and bloody. I would just have the same time zone.
[00:01:37] Speaker A: Yeah, some people like, in people that I work with and agents and booking people and PR people, sometimes they just only deal in eastern time. They're just like, we're going to deal in Eastern time. This is the easiest way to tell the time, whatever. And then there's other people where I get an email. I'm like, cool, that sounds good. And I'm like, oh, wait, it's a central time. What's one hour? I'm trying to do the math in my head. I'm like, I have no idea. Yeah, yeah, it's, it's a little, I guess, most of the part. In the US I usually talk to people on the east coast of the west coast. And so it's either Pacific time or Eastern time. That's usually how it goes. But we're here.
[00:02:10] Speaker C: At one point, I was working with a. On a project with someone in Australia and we had somebody on the east coast. I was on the east coast, west coast, Australia time. It was.
We'd find times to zoom and it would be like one in the morning, his time, because everybody else, you know, it was.
[00:02:25] Speaker A: It's a dance the way it works. Hey, we could do this all virtually now. This is awesome. So we don't have to be in the same room, which is cool in the first place. So. But yeah, well, welcome. Or we're here to talk about the art attack, the dissection of Terrifier 3 documentary and more stuff. But to get started, I mean, for both of you, and I'm pretty sure we probably talked about this in the past, John, but I'd love to hear from Gary and both of you at this point too, is like, I just want to notice what draws you to tell stories behind the stories. Just a quick synopsis on how you got into this industry and what made you want to do what you do. Don't be too long. But it's something. Just a little bit about your history on it. I'll start with Gary, why don't you. Why don't you go Gary?
[00:03:06] Speaker B: I waffle. So just cut around anything I say.
Yeah, it's a long story for me, but make it short. So I've obviously always loved film, always loved horror films, but particularly loved special effects. Even as like a little kid, I'd be like, trying to work out, like makeup effects, getting Fangoria magazine any news clippings I could find. Obviously back then, a lot more difficult than it is now to actually find anything behind the scenes and the men behind the mask and whatnot. So when DVDs came out and you suddenly started getting documentaries and, you know, behind the theme featurettes, even though they're only like 10 minutes of old 80 pks. I bought the DVD just for the behind the scenes of the commentaries particularly. And I know I've got friends who won't listen to commentaries, but I love listening to commentari or used to. So it was really kind of like, you know, kind of a passion for me straight away, like how films are made, how effects are made. And I kind of got into it in a very strange way. I think I first got into it because I became friends with Don Californ from Living Dead, and he had loads of stories on obviously that franchise or the first film particularly. So I decided to Write a book with a chap called Christian Sellers called the Complete History Returning Dead. That did really well for the publishers. Not for me, but it did really well for the publishers. And then I was approached then by Tommy Hudson and Mikey Perez to write the documentary with Christian More Brains, Return to Living Dead. And that was quite a nice process. That was. It kind of. It was quite easy for us. We knew the concept, but also the fact that they went and interviewed people, they transcribe it, and we just built the script or the edit of a story narrative via those transcribes. So I kind of, I think, you know, all you have to do really is put a camera in front of somebody, interview them, transcribe, and you got a doc naively thinking that was the way. And then we did a few screenings in Birmingham, where I live. Well, I used to live in the uk. And we did a screen return, Living Dead. And we had Don over the screen of Hellraiser 1 and 2. And we had Ken Cranham, Jeff Porter, Simon Bamford and Nicholas Vince come over for that. And I kind of realized that nobody had done a documentary about Hellraiser before. You had not been Elmistate. You had Friday 13th. You know, John, I think about the same time was working on the pet cemetery documentary. But nobody ever touched on Harris, which was really weird considering how iconic. Pinhead was, you know, the poster boy for that franchise. And in fact it was a UK production race, it was American money. It was filmed in the UK 1 and 2 particularly. So that meant a lot of the cast and crew were here. So we took inspiration from Never Sleep Again and decided to make a very in depth documentary on High Razor 1 and 2. And then we interviewed like, literally, you know, the world and his wife who met, who revolved in that film. And it was nine. Nine hour documentary, which was like very, very long and was very, you know, very much for learning. For some reason, the fans seem to love the original nine hour cut. I just. It makes my eyes bleed because we see the mistakes that we, you know, we were trying to be big. And so we later reduced it to a three hour, I think it was for Arrow.
That's basically how it happened for us. Leviathan was the first thing that rolled on to which we'll talk about in a bit like things like Brewster the Front Night Story. And then I got involved with John, but I kind of knew John online, chatting back and forth. And we came obviously with Pennywise together. So it's always been a passion, really about telling stories. And I think Very much like John. You know, I think it's really important that obviously the main cast and crew are there, but actually there's people behind the scenes. The clapper loader, you know, the catering person, you know, the, the gaffer who are there every single day and they never tell their stories. Ever tell their stories. And it's like, well, you know, someone like Doug Bradley was on the set of Hellraiser for like nine days. It's a, it's a three month production. So all that stuff went on you and you, you weren't asking loads of questions. And most of actor stories come from Q and as and panels they've heard from somebody else. So we, I think, like John, we like to find people who maybe never get a chance to tell their story. People, people who are actually fans as well as, as well as we are. And that's obviously how that's kind of developed our kind of like narrative. Like getting as much out we. Out of people as we can and not always focusing on the main faces, trying to get obviously those people because it's important, but also getting the people who actually were the gold, basically. We used to call it the gold basically, you know, getting the gold of the stories, you know, because that's the people who are there every single day. That's a very short version of story.
[00:07:19] Speaker A: I mean, it's, it makes sense. It's an awesome journey to get where we are and telling these stories. But John, is your. Yours is obviously different. A little story on this, but like, how did you get to where you are now?
[00:07:30] Speaker C: It's a little different, but I think it comes from the same place of like, being a fan and growing up with these movies and wanting to learn more and see more. I mean, I kind of come at it from the archive side. So I've always been like, just super excited about finding, you know, archive and materials that nobody's seen before.
So I kind of have like the archivist perspective on it and the filming location perspective because, you know, growing up in New England, there's a lot of movies that have been filmed here. And so as a kid I would, you know, go to New York City and go see where they filmed Rosemary's Baby or Taxi Driver, go to the Vineyard and see where they shot Jaws, you know, so. So it, it started for me with Pet Sematary and going up to Maine to find locations and meeting locals, not ever planning to make a film. I mean, I had never made a documentary before. I didn't go to film school or anything like that. So but as I met people and we found photos and no one had ever seen before, it like got me excited and I wanted to share that with people in some way. And so we kind of stumbled our way through that and made a documentary. And then by then I. I was sort of bit and. And wanted to keep doing it.
And. And then that's when I met. I met Gary and everybody. A deadmau5 to do the Pennywise project in that.
[00:08:40] Speaker A: Obviously that was your. That was your first project together on this. Like actually full working together on this.
[00:08:46] Speaker B: It was really weird because we've been talking for ages about doing documentary on Pennywise because obviously we just love Tim Curry. We were kind of told after. After the stroke in 2012, it's gonna be very hard to get him. And then I think John posted a thing on. On Facebook. It was a him of a red balloon or something like that, or a teaser or something. We were going to do the same thing about the same.
So then, because I'd already been talking to John, I think either John messaged me he might saw what we were doing. We kind of got together and it's kind of pretty. It kind of melted quite well together in our kind of our relationship because we both wanted to celebrate that particular film because we both loved it as a kid, but also we wanted to celebrate Tim's work as well. And you know, Tim had never spoke about that film at that time. He was always about, you know, Rocky Horror Picture show and, you know, and then it went very quiet. Obviously after the stroke, you know, he kind of went out the public eye. So it kind of, you know, it kind of serendipity really. I think if anything it just a post on Facebook and I thought, I know that guy and let's try and talk. And then it kind of evolved from there.
[00:09:46] Speaker C: And I think, I think Bart was the connective tissue there too, Gary, because.
[00:09:49] Speaker B: You know, you would work with him.
[00:09:51] Speaker C: On the Fright Night project. And at that point we made Pet Cemetery. It was released and my. My creative partner on that, Justin, didn't want to do another project, not because he wasn't interested, but because his kids were at an age where it was just not feasible for his lifestyle. So there I was just like one person looking at, trying to do something with the miniseries, knowing that, like, I could never do it on my own. So I started writing these little articles. I was interviewing cast and writing for Dread Central.
And that's how I met Bart. And Bart was like, I have all this footage. Gary knew that he had all the footage from working with him on the Fright Night doc. And so we were sort of bound to cross paths, you know, at some point.
[00:10:29] Speaker B: And good thing about someone like Bart, he is an archivist like John, you know, he keeps everything. I mean, ridiculous amount of archive that he has on a lots of films. You know, Friday night when we worked with him on that, there was so much on Friday Night Part two that he had no one ever seen before reading. It was like hundreds and hundreds of photographs and then. So we knew he was an archivist and when we worked on RoboCop, exactly the same. So when we kind of. He told us he had this footage from the making of Stephen King's it was like, I'm going to have you. No one's ever seen it. It was hours and hours long, I believe.
And you know, that kind of. We, we knew we had to do it then. But I think we all, we all said at the very beginning, we don't get Tim, we won't do it. Because I just think we've been burnt a little bit on high razor with Clive because Clive wasn't well at the time. We later kind of had the same situation with Peter Weller, but actually got him in the end after a very long period to try and get him.
And it's like if you don't get Tim and it's about Pennywise so central for that film, it was going to be as much as Tommy was brilliant and as much as Bart was brilliant, I just felt. And then, you know, let's try and get him. Obviously then John worked his manager commit and we got. And we got Tim. So kind of once Tim was announced, we wanted quite one of the first, I think, or near the beginning, the first year it kind of spiraled and I think once you get that key person, most people jump on because they have to jump on. You know, it's like, oh, if, if Tim's doing it, we've got to do it. So that helps in a project to get the key person first. And we didn't do a way around where we've wait for the main guy last because it's been difficult and obviously that's a rubber cop story.
But yeah, so, you know, I think it kind of every finds place in that project really well through meeting, through bar and then obviously Tim then.
[00:12:12] Speaker A: Yeah, and then the success and, and the quality of RoboCop and Robojock I should say, and Pennywise story, I'm guessing, led to this terrifier documentary that you guys work on and we talked a little bit before Gary. We'll touch on it here too is.
[00:12:27] Speaker B: It's.
[00:12:27] Speaker A: Obviously it was a lot different, right. I mean you guys created all these other documentaries from. From ground up and a lot of work and a lot of like stuff that they did. But this is something you guys are approached. Is that. I'm guessing, is that what happened? Someone approached you?
[00:12:39] Speaker B: Yeah. I mean I won't take all the glory, you know, I get. I do waffle. But I'll let John jump in in a second. Sorry, John. But like. Yeah, so what happened with Pennywise particularly and with RoboCop? They took a long time. Lots of things happened on those projects with COVID and obviously finances the whole world. Documentaries change when we really, we really need to tell that to people as well. Because I think people saw how quick we churned out. Obviously Pet Cemetery for John, but also then Friday Night and Leviathan for us. In that period of time, things massively changed documentary because it's like getting big and people started again. The World's Wife started doing documentaries and obviously it got more difficult regards to the legal element of. And distribution element did. So when we did the Kickstarters and Indiegogos and whatnot, it was very simple process. We would literally make a documentary, we would release it, do a pre order and then pay for the next documentary as with the profits as well as. So something like. I'm explaining this for a reason, but something like pennywise, we raised 33 grand for that, something like that. But it actually costs us about nearly 200 grand it costs us to do. And people that see that element of it, you know, like, it's like we've got to find that rest of that money. So it. The delays and that caused lots of problems for us. And it still has repercussions and problems despite the fact, as you said, they're very successful in terms of the feedback from fans and the awards and whatnot and the quality.
But this was different because we were approached now it was quite strange. I had a phone call or an email. I think it was on either maybe 23rd December, a year before last. And it was literally, you know, from Screenbox saying, you know, we'd love to talk to you about doing this documentary behind the scenes on Terrifier 3. It's only supposed to pick a little like a mini documentary to go on as a bonus feature. And obviously we did a really good experience with Screenbox and obviously got quite close to them. I had a meeting I think on the day before, possibly New Year's Eve about it. And then I spoke to John want to be involved. And I knew it was gonna be different because. Because the budget was different and because it was work for hire. Our roles more will be the producing side and the writing side and obviously in the post side and obviously also the pre production and production organizing. So we kind of decided Variant would have a. A crew who were U S based as opposed to us going out that we used to do because of time as well. We'd obviously get crew to do it now I said when we did our razor and all that kind of stuff and the Pennywise, that's a six year program process. This was a. I think we, we kind of agreed to it. John. I think in the December and there were our crew on set in the March I think it was. And then we were edited by the August I think maybe August. Yeah. So that's a really quick turnaround. So that was a very strange process for us because it was hands on in a different way. And I think me and John probably spoke about Art the Clown every day for maybe a year. Well, no, yeah, maybe about nine months every single day.
But actually I think it was more rewarding process because we could see the excitement of things coming in and like yeah, you see that, the stills coming in, you see the, the interviews coming in. Whereas when you're on the set, I mean John will probably say the same or probably agree is that it's a long day on the set. When you're sitting there in the studio, it's boiling hot and you haven't interview people and you kind of lose that kind of like, you know, the, the gold bit when you get bits about people in the talk but you're so panicking about the next person coming in. And me and John used to take it in turns to go and like do the meet and greets of people and obviously do the smoothing. While the other entry was running late, that was all gone. So we, we could, we could enjoy it more, I think in that sense. John, over to you before I start talking more.
[00:16:18] Speaker C: No, I, I agree. I think it was an interesting process to, to work with such a new ip. I mean, I think Gary and I are used to dealing with older, older films, you know, that have been shot decades before. So to be coordinating like our second unit team to be on set while they're actually in production filming the thing we're documenting was different. You know, it was a, it was a different experience. And getting archive and doing all that was different. I mean I didn't thankfully have to climb into like anybody's attic and look for old photo albums for.
So yeah, it was a different experience and sort of more straightforward. You know, we're working as, as Gary said, Guns for Hire and we're working with Cineverse and Screenbox that already have like a very established like PR team, a marketing team. We didn't have to worry about that like making it and now we got to get it in front of people. Like we could kind of rely on their teams to, to do that, which made it just a little bit more streamlined. So yeah, hopefully there's more to come. You know, we'll see.
[00:17:14] Speaker B: And I think the weird thing as well is that, you know, we said we had to do sort of mini, mini documentary. We ended up doing a, a hundred minute documentary covering all three films, covering the Legacy again. So we kind of try always deliver more than we actually set out to do. That helps us as a company because obviously it helps people like Screenbox to go, these guys are good, you know, and we get more for it. And I think we actually, I don't know what we're going to be going to do at the moment. We did nine bonus features as well for this and that was covering, you know, from anything from five minutes to 20 minute featurettes about, you know, Art the Clown, but more legacy elements, more relations between the brother and sister. So there's lots more which people haven't seen on the documentary, which has always been edited by our editor and director of other projects, Chris Griffiths. So we, we end up getting a lot of stuff and I think the, the hardest thing for. I think I felt it was because it was independent film, particularly the first, all three of Marble, particularly the first two. There was already a lot of stuff out there behind the scenes stuff and like, you know, the crew light posting stuff. I mean, Jesus Christ, they're like. But yeah, they'll post on the same date of shots and they're going to be like 100, 100 images. And we're like, we've got to get something which hasn't been seen before. We got to get some really kind of like cool stuff. And the great thing about the third film, because it was a little bit more secretive and tighter, we got loads of stuff off the Tinsley Studios and we got stuff obviously, you know, the, the costume lady and some of the producers which they hadn't posted and then they went copy with the poster 5 81. So I think that was the worry at one stage. We just want to be Regurgitating the same things that was already out there. But actually we got a lot of gold in here. And again that's testament to John for pushing and fighting and arguing and, and, and nagging suddenly. And the issue we had particularly was that we were nagging these guys whilst they were in post production. So we were in post production our documentary very impression on the movie. So that was really kind of like stressful because like we'll get, you know, they were away in Mexico in, in a editing suite and we're nagging them for archive. But the beauty is we got to see the film about two months before everybody else. That was quite cool.
So everyone's like doing these kind of things online, going I wouldn't. Does this happen? And we get. We know. So it's quite interesting.
[00:19:21] Speaker A: Well, I mean you guys are, I mean I think also that you. There's just two different things of it here. You guys with RoboDoc for an example and Pennywise and Leviathan. Those are all you're advertising. You're promoting and marketing those to the people who are fans of those films that are like historical film. Like you're die hard fans. Like hey, I used to watch this when I was a kid or you know, so on and so forth. This is like striking with the iron's hot. Like okay, Terrifier three is in front of people's heads. It's right there. And now you're just trying to get, you know, produce and release this, this documentary on the heels of the actual release of the movie. So you're trying to get the, the flame that's already going and trying to see if you can keep it going with this thing.
[00:19:58] Speaker B: Yeah, that's why we wanted to do it. I think we really kind of. Even though there was times where we were going to stop because obviously just complications regards the scheduling. I think we've kept the same over and over again. Me and John did. This is an IP which is fresh and new. This is. It's already established itself in six, seven, eight years as a horror icon already. We've, we've covered Pinhead, we've covered Jerry Dandrud, we've covered Robo Dark, RoboCop, we've covered Pennywise. Let's, you know, let's look at something which is fresh as well. And the interesting thing was we weren't. There's no disrespect because we're old.
No. But we had, we had young people to interview. It wasn't old men and old women. You know, it's like an archive, dead people. It was literally like teenagers and 20 year olds and 25 year olds. That was really kind of strange as well for us that like, like, hang on a minute, there's no wrinkles other than us. We're the oldest people sometimes.
[00:20:46] Speaker A: Yeah, let's reach out to this so and so person from this movie. Are they still alive now that you have to worry about that? They're right there.
[00:20:52] Speaker B: That was it. You know, it's like sometimes you don't realize that the dead, some people like even like when you interview, when you interview people. We've had a couple times we've interviewed somebody and they're going, oh yeah, you know, Brian's a great guy. I love Brian. Can't wait to see him again. You're going, you know, he died five years ago. I'm like, what? And then they start crying in front of you because you didn't know. He's like, well, you're not my friend.
[00:21:10] Speaker A: Really?
[00:21:10] Speaker B: You didn't know. You're the one telling them off topic. I know quite well an actor in the UK and I was talking to him the other day and he was friends. Actually I didn't know this John, but he was friends with Tim Curry back in like the 60s and 70s in the theaters. And I was telling him, you know, about what happened to the stroke. And he went, when did he have the stroke? And I went, what? He went, was he okay? I said, that was like 2012. And he went, I didn't even know.
Some great mate you are. Don't you read the tabloids?
I think that's the actors bubble, I think, to be honest, they, yeah, they're so focused on roles and what about. They don't do what we do, they're not playing. There's a dog.
[00:21:50] Speaker A: He's trying to tell you about Tim Curry's stroke. It's, it's a, you know.
[00:21:54] Speaker C: Yeah, I mean I think by like Gary was saying, by comparison, the, the hunt to find people. I mean, we didn't have to hunt people. You know, I would call Mike Levy from Fuzz on the Lens and say, can I get so and so's email? And we've emailed him, you know, so it. Working on a film that's current, it definitely has its advantages, you know, so.
[00:22:11] Speaker A: Yeah, and so, I mean you so obviously approached you, you're making this movie or this film, you're doing this documentary. I mean, were you fans? Like, is this one of those things where it was an easy. Yes because the fact that you're Fans of the Terrifier franchise to start off with, or is this something that you just did? Because it was. It seemed like an interesting thing to do.
[00:22:27] Speaker B: Yeah, I was. I mean, I just. I like the image of the clan. I think it's. I mean, it's a simple image, but I think it's a great iconic image already. So I kind of. Of. I was very much aware of it. I'd watched 1 and 2. I'd watched obviously, All Hallows Eve and obviously the other Terrifier that. The short. So I was very much aware of who he was. And obviously, I think I had the mask as well upstairs. I mean, that's a different one there. But I had the mask, obviously from Trick or Treat Studios, so I very much knew who he was. I think that was exciting as well, to. To get some. And I. What I really liked is to get someone like David when he's at the start of that journey as well. You know, we just. We just done documentary Robert England, and he's like nearly 40 years into that journey of Freddie and he's already like. He's gone through the stages of Freddie where he's gone through, you know, the initial excitement, then the regret, and then the, you know, the embarrassment to a degree of playing Freddie, and then he's now accept the acceptance of Freddie. And I think that's a really interesting journey. And I know most actors go through that over their career, but maybe it would be different, someone like David, because straight away, David is getting the accolades and recognition, recognition for art, the clan as being an icon. Whereas Robert didn't have that straight away. He had. Obviously, Freddie was huge, but Robert wasn't huge. You know, there wasn't conventions really, as, you know, in the 80s. And, you know, there was yard thing in Fangoria. So I think maybe he's Journey's gonna be slightly different. But I'd like to see how that journey develops, I think, with David, particularly about how he handles that, because, you know, you've got some people like Kane Harder, Doug Bradley, Robert Jeffrey Combs, who have created his career by being an icon, but it's taking a long time. He's already an icon, which is really weird. He's already there, you know, And I think we'll start seeing these posters with Freddy Krueger on and Pinhead, and we'll see Art the Clan already on him. And I think that's kind of a strange thing where you couldn't put it putting out, okay, next to Leatherface. And that franchise is 50 years old and yeah, so that's, that's interesting for me and I think I'm a fan of that. I'm a fan of like the psychology behind it as well about how that's going to develop. I think as well, I wasn't, to.
[00:24:30] Speaker C: Be honest, I wasn't super familiar with them. I mean, I had seen the first one and I think I had seen All Hallows Eve, but it wasn't particularly on my radar. But, you know, I got familiar pretty quickly. And you know, the thing I would say to Gary a lot was that aside from the character in the movies, what I was really attracted to was this idea of like an indie film being as successful as it is in an era where we're up against, you know, multimillion dollar Hollywood films. I mean, the fact that like a little, you know, a little indie horror film could gain such traction and organically I thought was really one of the hearts of the story, you know, talking about the whole, all the movies.
And so I was excited to sort of tap into that a little bit too because I mean, that's pretty profound. And whether you're a big fan of the films or not, you can't take that away from.
[00:25:22] Speaker A: No. And you can see the third film. The third film. And again, the third film was a little bit different than the first two in budget wise and so on and so forth, but makes more movies movie than a movie that's based around Joker iconic DC character for years and years and years and years or Snow White.
[00:25:35] Speaker C: I mean, you know, so it, yeah, it's that you can't take it, you.
[00:25:40] Speaker B: Know, and I think in this day and age, what's strange, that film was Bulls against the Wall. We don't care about. You know, I'm not going to go into like the debate about wokeness, stuff like that, but he doesn't care about it. He doesn't give a chuff about what people think of it really. I think that's what I quite like about Damien. He's a fan and he's obviously, you know, of course he's been industry for a long time, but he loves gore, he loves horror. He doesn't care about showing some boob and some willie and having a balls chop off. He doesn't care about that because he knows there's a market for it and he knows that people think it's funny. You know, I went to go and see terrifying the cinema 1 and 2. It was re released in the UK just for the third film come out and I was really surprised that no One of a lie. People got up and walked out. I'm thinking, surely you know who art?
Yeah. I mean, surely you've not gone to a cinema and go, you know what, it's a date night. Let's go and see this film. What is this interesting? A double bill for a start. For like four hours. Let's go and watch a film about a clown, people getting up and walking out. I was like, that's. That's actually really important. That's really good. Because if I made a film, people walk that. Because it was gory ticking that box.
[00:26:40] Speaker A: Yeah.
[00:26:40] Speaker B: Because the story's crap. That's different.
[00:26:42] Speaker A: Yes, exactly. Well, that was the whole marketing. The whole thing about someone like, oh, someone passing out or something. I'm like, I'm sure Damian's like, we did our job.
[00:26:50] Speaker C: I mean, that's the kind of. That's, you know, it's the old adage of there's no. No publicity is bad publicity. You know, whether it's John Waters films or the Exorcist where people.
[00:26:58] Speaker B: Exactly.
[00:26:59] Speaker C: Let them walk out, let them vomit like that.
[00:27:01] Speaker A: Let them protest outside. Who cares?
[00:27:03] Speaker B: Yeah, yeah.
[00:27:03] Speaker A: Should have been marketed. It's a whole thing.
[00:27:05] Speaker B: Yeah.
[00:27:05] Speaker C: Get the Catholic Church out of you.
[00:27:06] Speaker A: Get the Catholic.
[00:27:07] Speaker C: Go for it. Let's do it.
[00:27:10] Speaker B: I think, as John said, I think it's such an interesting thing they've done. I mean, all credit to them, you know, to create something which the formula is not new. We know that the first film is not a new form. And I know Damien's tried to change it a little bit with more supernatural element.
[00:27:26] Speaker A: Yeah.
[00:27:26] Speaker B: But you know, the design of him isn't. Isn't much different to a lot of, you know, features and whatnot of other characters. But something about that character instantly about it and he's. Again, I think it's a lot to do with David. I've got to give him the credit, you know. Regards portrayal of art. I think somebody else trying to do it would be interesting. I know obviously Mike did it in the original, but there's a massive difference between them two characters. Like, it's like Brian Cox versus Anthony Hopkins, isn't it? With Hannibal, it's a massive difference. I actually prefer Brian. But anyway, I. I think that cultural kind of change as impact that they've had, as John said, I think. So weird. It's so interesting that in this day and age, a really low budget, gory horror film with tits and ass and William Bomb and all that and vomit and, you know, and all that stuff and basically on walls can literally make more money than the jokers. John said it just shows that there's a stood up, there's a. There's an audience for those films.
[00:28:23] Speaker A: Yeah.
[00:28:24] Speaker B: And that people want to see that. What I hope doesn't happen is we get a load of crap come out now from other people. And I know I've seen a few I won't name because I'll give everybody credit. Me and John have all said it. Me and John have. We never ever publicly dis any film at all. We don't. We never do that because we know we've made our own stuff. John's made. He's George, Sure. I've made my dark dirty series. We know the pain and suffering goes into any production. So everybody that does something you give them credit for, even if it's the biggest piece of you've ever seen. Yeah. Someone's been on set, someone's written that, someone's made some effort, someone's put some money into it, you know, praise them for the effort, but don't, you know, don't slag them off publicly. Yeah. Keep that to yourself.
[00:29:04] Speaker A: Once we turn off the recording, we can say it.
[00:29:06] Speaker B: Why don't you. Why don't you see mine and John's private messages? He's always like, in people after.
But yeah. So I think that for me, I think is just so important that, as John said, the cultural impact of this one film. Film is. Is outstanding. It just is. And I hope it does make Damien a lot of money. I hope. I hope he doesn't lose his independence. Regards to his flair. Well, I hope he goes on to do something really, you know, interesting regards to another franchise of rip. And maybe it does kind of like push for a new Freddy Krueger film or a new Jason film, which is gory and, you know, balls the wall. Maybe. Maybe that's what we'll get next. Because of this. Maybe.
[00:29:42] Speaker A: Why not? I mean, it's one of those things that Damien's made it, made a name for himself. And that's another thing that's really cool, in my opinion, is that how often. I mean, is as a director or a special effects person have that much name? I mean, I have this terrifier shirt right here from Terror Threads. I have a Damien Leone shirt in my closet.
[00:29:59] Speaker B: Yeah. Yeah. It's amazing.
[00:30:00] Speaker A: And so the fact that his name is synonymous with terrifier is a very unheard of Carpenter's Halloween. Like, it's like, how is that the same? How is that? It's insane.
[00:30:12] Speaker B: I think is I think it's the strangest thing and it's brilliant. The brilliant thing is that a film which is only. The first one's 2016. Is it the first one?
Is it something like that, isn't it?
Yeah, something like that. Where you're not just a convention with just.
David, what's the comment? My head's gone black. Names now and Dame. You've got Phil Falcone there, you've got Michael Levy, they've got Jason Levy there. You've got. It's like, that's unusual. You don't ever get. Get the producers and the, the cameraman and the DP and the, the tea lady. You don't get that. But for this franchise, people have just accepted these people as like celebrities, which is amazing for the horror industry. And it's not just Damien. I think, Dan, you're right. Damien having a T shirt is ridiculous in a positive way. You know, you never got Wes Craven t shirt in 1984, but I think for Damien, it's amazing. But Phil Falcone sitting there, signal grass. Like, when would you have got, like, you know, Chris Big from High Raiser sign autographs in 1987? You wouldn't never have had Rob, you know, Rob Shea doing it would never have happened. How you've got. It's like, hang on a minute. Me and John have always been behind the camera hiding and like, literally the ones that are making. I'm getting out there now, signing. You know, we're documenting things. We, we tell people who we are for our dimension. They want to lynch us and kill us. You know, that's a different story. We'll be signing checks of an autographs. Yeah, but I think, I think it's. I think that' amazing element of the cultural impact that if, if you worked on that film, doesn't matter what your role are, you are going to be at a convention, sign autographs. And that's. That's a very. That's. It just shows the impact. That's how that people want, you know, the, the. The shopper number 10 in the, in the mall scene, the third, and they got a queue around the corner. It's like, what the. Brilliant.
[00:32:02] Speaker A: Yeah, it's amazing. And that's probably, I'm guessing I'm speak for you, for you guys. But like, again, that's the reason, one of the reasons why I drew you to do this. Like, obviously there's Passions in. And I just watched the Pet Sematary documentary and I actually watched Snapper.
But yeah, so you had said it to me. A while back, and I was like, oh, crap, I never got a chance to watch that. So I'd like find the email with the Vimeo link in it and stuff like that. But yeah, yeah. And so. But you have passions to go into this because it's something that you want to do and it draws you likely to this type of. Of film. And making a documentary about a film like Terrifier is their passion, I think. I think it shows. And there's so much. Watching this film and watching what you guys were able to accomplish with this documentary, just it reinvigorated me to go, I want to go back and watch Number One again. Like, I want to see all this.
[00:32:53] Speaker B: Exactly. That's exactly what we try and do. We want people to go and revisit Pet Cemetery to go and revisit Fright Night to go and Revisit Front Part 2. Because the whole point is we're trying to give you a flavor that what we've always said as well from day one, we never do anything negative. You know, we've sat in interviews where we've had negative stories and quite kind of like, you know, kind of fruity stories about people we've never did. We never sat to do that or criticize people we know. When we looked at the spider, for argument's sake, in Pennywise, yeah. We didn't rip it to pieces. We gave the people a chance to talk about it. We did the same on Return of Living Dead with Bill Muns, who was sacked as the original makeup artist on Tarman and actually did really good on time and on the Yellow Cadaver and things like that. We gave him his chance to finally speak and give his reasons. And I think that's what. And again, I don't mean negative about our experiences on projects, but that's what me, John, I think we've always kind of joined together on. Is that when we do get criticized for various things. I think we come from this as fans, you know, we're not here to make millions. You know, I still work in education, have them for 25 years. Even though we've done eight documentaries and a TV series and whatnot. John's done shitloads of stuff. We still work in our industries because we're doing it for the passion of filmmaking and the passion, as you said, of celebrating these things that we love. I want a documentary on Friday night. I want to go and see a documentary on Friday night. No one made it, So I want to 1. I want to watch that. So let's do ourselves. You Know, I want. No, nobody ever celebrate Rob England. How is that even possible? How would nobody gone. You know, Robert is this like, you know, Freddy Krueger. He's like, he's. He's a, you know, Shakespearean trained theater actor.
Maybe it's more to him than just that glove and fedora. Maybe it's a little bit more. Nobody'd ever. When we approached him, he said, no one's ever approached him. How is that possible? How an icon, you got. You've got literally Bella Lugosi sitting there, you know, Christopher Lee, Peter Cushing, Vince the Price, then our version of that person sitting there and no one's talking to him. So that, that's. So that's really. That's what. It's passionate for us. We want to get obviously, stories out there which aren't told very often. And also. And celebrate whilst they're still here as well. Because I guarantee when Robert. When Robert passes, like, we all will. There'll be loads of E. Hollywood stories about him. There'll be loads of little mini thing. Well, why do. When he's here, so he can appreciate it and he can see the fandom. So, you know, hopefully we've done that with. With Hollywood dreams, I'm hoping. And now obviously, we've terrified.
[00:35:24] Speaker A: As I said, yeah, you've done the same thing.
[00:35:26] Speaker B: We haven't waited 30 years, you know, and just sat on the archive. We've literally done it now. Right.
[00:35:32] Speaker A: We've got, like, fresh stories too. People like fresh things they're actually talking about that just happened. They're not trying to recall these things or look at photos and go, oh, yeah, that's happened. I mean, I. That's. There's things that happen to me in my life. Someone asked me about it, like, I don't remember that.
[00:35:44] Speaker B: I know I've been joking with a guy called Jeff Portis. He's a guy who created the original. He actually did the design and makeup of Pinhead, okay. In the original Hellraiser. And my friend Ken Cranham, who played Chenard in number two, he goes to all his conventions, Kendra's, and tells the same story about having straw stuck up his nose. And Jeff, he's like, adamant that never happened. But Kenny's convinced, convinced it happened. And, like, you know, you've got Jeff going, there's no way I would ever do that. You know, as a professional person, I would never have done that. But that's where Ken's got from. I have no idea. And all the crew, he told it.
[00:36:19] Speaker A: Once, they just Kept on going like, I guess it must have happened.
[00:36:22] Speaker B: All with a crew. All of a crew, say never happened. Yet Kenny's convinced it's happened. He's like, but you're right, stories do get lost a little bit. And I know I've seen people on. On Q and AS telling really interesting, quirky stories, which they weren't on set that day. Yeah, but it's somebody else's story they've heard and they've made it their own and it's exaggerated somewhere. And I think that's. You're right exactly there. We've just got fresh stories now which happen on the day literally. I think when we shot interviews for Terrifier 3, it was a week after they just finished filming. They are fresh, as you know, they can be. You know, I think Damon was just going into the edit, I think a couple of days before. So I think that's quite cool from our point of view. I think as you said, it's like we've literally getting the stories now. Yeah. So that's brilliant.
[00:37:10] Speaker A: And you mentioned the photos. Like you talk about the photos that are current and now and so that these are also. I mean, you mentioned the story being told at conventions over and over and over again. The same thing happens here is like you guys got stories that probably have been told at some conventions and in panels and things like that in recent years because obviously they're at conventions right now, but. But like it isn't 40 years later of the same story being told over and over and over again.
[00:37:33] Speaker C: You know, I'm used to digging in basements and you know, having to digitize 35 millimeter slides. And with this one it was like, here's a Dropbox link or exactly, a Google Drive link. You've got all these photos on your phone. Just send them up, you know, so.
[00:37:47] Speaker A: Drag it into that. Drag it into the timeline. Cool. We're done.
[00:37:51] Speaker C: Yeah, yeah, sort of.
[00:37:53] Speaker B: Yeah.
[00:37:53] Speaker A: I don't say it's that easy, but I'm just saying, like.
[00:37:55] Speaker C: No, no.
[00:37:56] Speaker A: It makes it a little bit easier in that sense. But that's really cool. I mean, is this from this experience of doing this Terrifier 3 documentary and it's called Terrify 3 documentary, but I will say to people who haven't watched it or whatever, there's a lot of the entire franchise in this too. It focuses mostly on the three and you guys are on set and things like that for three. But you do show some behind the scenes footage and some other stuff from. From 1 and 2 and things like that. And there's obviously relations and. And they talk in the documentary about how things have grown and changed and things like that over the years and how Damien is now. Now focus less on special effects because he has. Was able to hire people and so on and so forth. So all of that's in it too. But. But yeah. Does this make you want to do stories like this again? Like another, you know, basically on set kind of thing? Or is it. Do you find more passion and you think it's more fun to do a story on that hasn't been told 40 years after the movie making in the movie.
[00:38:47] Speaker B: I'm just gonna turn my light on the cakes. I'm literally so dark and egg. John, you answered that question.
[00:38:51] Speaker C: You're just a shadow. I know.
[00:38:53] Speaker A: Yeah.
[00:38:54] Speaker C: I think there's room for both. I mean, it's a different process.
The terrifier one was a different process for kind of all the reasons we talked about and challenging in a different way. I mean, navigating a production, an active production, there's a lot of moving parts, There's a lot of different people. So it's a different challenge that you don't encounter when you're doing a dock on an older IP or something like that, that or a lost film or whatever.
So I think there's room for both. I think both are exciting and both allow you to sort of exercise different kinds of muscles and have their own unique challenges and their own payoffs in different ways. So, yeah, I would welcome another opportunity to do something like that for sure.
[00:39:40] Speaker A: Speaking of that, you said it's room for both. How about 30 years from now, you guys do another documentary on this movie and just like update your old documentary with the stories that you have over the years.
[00:39:50] Speaker B: I'll be 73 then. Hey, you're going to be Gary.
[00:39:54] Speaker A: You'll be still making films. Don't even. Don't even. You'll still be on set trying to make films here. Come on. No, like I said, there are differences, but maybe you're right. There is a space for both of it. I think that there's. Like I said, there's fun. You mentioned climbing in crawl spaces and looking through boxes, things like that. You're archivalist. You would found joy in that too though, right, John? Yeah, it's definitely something that you like to do. It's not all. All work.
[00:40:22] Speaker C: Oh, I love doing that. Are you kidding? No, I mean, it's. It's hard work, but I love it. I mean, yeah, Gary saw it all the time. I Mean, I. I would always call him or message him when we were doing Pennywise, be like, look at these photos. Like, you know, this. That's the thrill of the hunt for me.
So as long as I can keep doing that, you know, I'm.
[00:40:38] Speaker B: I think the problem we have now is that with the franchises that are disappearing now. Yes. Already what's out there, you know, Halloween's been done. Norman Elm street of Friday 13th, obviously RoboCop now. And when the list goes on and on, you know, so there's a lot which has been done and you don't want to repeat yourself on things as well. The frustrating thing is John will vouch for as well as when you do a documentary, you spend three, four years making it. I mean, you release if suddenly somebody finds a box of bloody photographs in the garage. Yeah, that happens to us all the time. That does all the time. Someone who promised the world and then couldn't find it and he find it and post it on Instagram then. But, you know, that's their problem to do that. So. So it's kind of. I think it's interesting for us to think this new model we have about doing new, new stuff because I think that helps us regards the. The arc and our own kind of like portfolio.
I think going back to an old one's going to be, I think will be harder, I think for us now, I think because one, we would never go back to Kickstarter again or Indiegogo. We know we've. We've learned our lesson there and I think it's what's left now to do which is going to be appealing for a streaming service to funds. And my friend and John's friend Mikey has just done the Child's Play documentary and again that's taking him four years, I think to do that. It's a long. It's when you do something which is about an old franchise, it's a long process because it is hard to find people and track people down and track archive down. The beauty of something new is it's there, it's fresh, as you said before. So I think I'm really torn, I am. Regards to what we can do do in the future. In turn, I think our future probably is more new stuff and obviously, you know, replicating what we've done on Terrified with new ips, which is coming out and working Screen Box. You know, I've. I think we had a great experience with Screen Box. Now we've done obviously Robo Dot, Pennywise, Hollow Dreams, Terrifier, John's license his things. I've licensed Leviathan and Bruce's to them. So you know we've got a good portfolio of them. A nice little kind of like already library. Yeah with Screen Box for both our projects and I hope that continues in that sense.
[00:42:47] Speaker A: It's. It's an approachable service too I think to people where the price is not insanely expensive to subscribe to and if you like have Amazon or whatever you can just add it onto your Amazon. It's approachable to get to into that school too.
[00:42:59] Speaker B: I hope they do something more international everywhere. But obviously Screen Box isn't yet so I'm hoping that we know we get it obviously over here. I think it's screaming for it because I think again I don't respect for two other other streaming services but what I just mentioned, it's. It's not very well, you know, it's not updated very often and it's like, you know, and if you're a horror fan you've got most of that stuff anyway so fresh content is really important. What I like about Screenbox, they're always trying to do fresh and new. You know, they're constantly trying to invest in new films. Obviously they mentioned recently about Wolf Creek, their involvement in that and Silent Night. That's unusual for a streaming service to be investing other than someone like Netflix and Amazon. I think that's really cool there that and again that gives us opportunity us to work on stuff hopefully. But you don't really get that shoulder. You don't get that you get. You know, you've done a few things which are fresh but not in. I think, I think, I think Screenbox is very much keen on. On doing fresh content and new narrative which is pretty really cool for us.
[00:44:00] Speaker A: Yeah and it was cool because like I could go on there and watch Art or Terrifier 3 and then watch this documentary right after everyone or two where you're in the same spot. It makes it really easy in that sense too. But like I mean so. So this was a fun experience. I'm guessing it was something new. It was quick like you mentioned. It was. It was within a year you guys were got accepted the job, did the job and is now out for people to see. You know you said has you seen reactions to this online? You've seen the behind the scenes people that are terrified. I'm guessing you. You had fun with this job and it was success. Success in your guys's eyes.
[00:44:32] Speaker B: Any projects not is fun for a little bit. I think you have about 10% fun and the rest is stress. And this was no different. Really wasn't. Because experience was different. Different for us and for Screenbox, if I'm being honest. You know, we. I think, you know, the whole kind of way that we, we delivered and managed and worked with Screenbox was completely different. And the scheduling was obviously tight, really tight. And I think because as producers, John and I, and obviously Adam and Chris are involved as well, but that's the stress. We know we've got two of a producer, we've got a sales producer who works very closely with me, Lawrence, who's brilliant, and we've got Hank, who's a postcription producer. They're on us like 24 7. You know, have you done this? Have you done that? Deliverables here, we need this. So it's really straight. Any project. Strange. The difference of this one, I think, again, I don't know what John thinks about it, is that we didn't spend long enough on it to hate it. Because I think what happens on projects, you know, you get to a stage where you don't want to hear about Pennywise anymore, and then when it's released, you. You find the love again for whatever you do. You go, you know what? Actually, I remember that. I remember when you shot that interview. Oh, that person's hilarious. But right up to the end, you don't want to know about it because you're so stressed about it. You're so panicky about it. We didn't have enough time. I don't think I missed one to get to that stage, really. And I think I said off air earlier on. The weird thing was it just came out.
[00:45:56] Speaker A: Yeah.
[00:45:56] Speaker B: Which was unusual for us because we, we part of the build up. You know, I think I'm. I'm Pennywise. No, maybe more. It's more on Hollywood Dreams than I'm Robo duck. We did 30 podcasts, I think, as part of the marketing campaign on that. So strange this just came out. It was like it was in Variety, it was in the Fangoria. He's got nice little buzzed. But I think because it was coming out on the tail end of the film, they didn't need to promote it at all. But they didn't. It was no need to promote it. Like usually, you know, everyone is obsessed with terrifier. So that was a strange experience because we weren't as involved in, in the, in the PR releasing of it. Whereas. Whereas I said me and John was in Shoes and Chris like non stop for the other projects.
So that's been a very different experience as well. And now it's out and it's like it's there and it's like. I know it's going to get another life in another way, which we can't go to too much detail about. But yeah, it just, it's very, very kind of like weird for us. It's just, you know, someone told me the day they'd watched it, I think they'd watch it dodgily, but. And it was like, you know, it's just, oh, okay, that's brilliant. You know, I know. Go on letterbox. And it's there. There. Yeah. And you know, people talking very positive about it. And the difference is as well, whereas, because we're doing a lot of marketing on RoboDoc and Hollywood Dreams and Pennywise, the reviews are coming in from Fangoria, Cyber Magazine, Starburst. We haven't had that because if they don't need to push it at all because it's. It's there.
[00:47:18] Speaker A: Yeah.
[00:47:18] Speaker B: So, you know, that's a weird experience to try and find a review on it which isn't a fan review. Yeah, it's really hard, actually.
[00:47:26] Speaker A: It is.
[00:47:26] Speaker B: You know, it's not, you know, people, people. Aren't you on Facebook and type it in all the Twitter or X whatever it's called now ever Musk is calling it.
It's, you know, you find lots of nice comments but nothing in the mainstream media about it Again, just weird.
[00:47:40] Speaker A: It's weird, but it's a weird feeling. Yeah.
[00:47:41] Speaker B: Yeah. We work for hire on it. Yeah, I know. Hopefully like you said, you've enjoyed it. People.
[00:47:46] Speaker A: Yeah. And I'm guessing that what they're banking on is people watching three and then having. Being like related videos and have it be like the next thing that you watch being like, oh, add this to my wish list or watch list or whatever.
[00:47:56] Speaker B: 10 minute pre. We had a 10 minute preview as well, didn't we, on the cinema, which was interesting. We never experienced that before.
[00:48:01] Speaker A: Yeah.
[00:48:01] Speaker B: And I think, you know, it was very much like, you know, again from Cineverses. And that was stressful because we had to get that ready in about four days, I think it was. And a trailer and that's like, you know, you don't think about. But you forget. You forget about the trailer. You do always work on the actual main production and someone says, by the way, one. One of the deliverables is a two minute trailer.
Let's go back. And that's more money for us because obviously we've got them Pay for, like, you know, the sounding on that, the mix on that. You know, the grading on that. It's complete. You know, it's like, that's the business element, which none of us, like, is where we have to sign invoices for, like, stuff that we did ourselves on Leviathan and on Pet Cemetery and on Brewster. But because it's going mainstream street streaming, sorry, it has to meet QCs, which we can't do at home.
[00:48:45] Speaker A: You know, I mean, it was. It was a fun thing. And I was glad I heard about it because I'm always about. Like, you mentioned, I like those extra things on the DVDs. I like those extra stuff. And then obviously, like I said, I connected with John a couple years ago and watched Pennywise and been a fan of the work that you've been doing. And so actually, the Pet Sematary one was actually kind of funny. I live, like a mile from the Pet Sematary. Like, literally.
[00:49:09] Speaker B: Oh, really?
[00:49:10] Speaker A: I live in Orington, so it's like.
[00:49:11] Speaker C: Oh, you're in Orington.
[00:49:12] Speaker A: Yeah. My daughter is one and she has sometimes trouble sleeping. Kicking her nap, whatever. I'll throw her in the back of the car and we'll go for a Drive. And nine out of 10 times, I just drive by it. I go, there it is.
[00:49:24] Speaker B: Your daughter's struggling to sleep, so you take it to Pet Cemetery. Yeah, okay, that's fine.
[00:49:28] Speaker A: Yeah, yeah.
[00:49:29] Speaker B: That's brilliant.
[00:49:29] Speaker A: Well, listen, I listen to audiobooks, too. So, like, half the audiobooks that she listens to in the backseat, like, probably not, like, good. She's gonna be like, I like Stephen King. Weird start.
[00:49:38] Speaker B: I'm young. That's the best. I started very young. You know, I was watching horror films at 3, 4 years old and taking him into school by borrowing Freddy Krueger to my friends. You gotta start them young and then they don't get scared, them.
[00:49:50] Speaker A: Yeah, my dad. My son goes to school and tells his teacher, yeah, my dad was listening to Stephen King on the way in.
Stephen King audiobook on the way in. Drop off at school. But no. So, yeah, so seeing that, like, that there's a Pet Sematary one and seeing it, you having footage of, like, I could have driven by when you recorded it. But, I mean, you know, so on and so forth. And I'm not, obviously, far from the actual house that. In the movie. Which is pretty fun. But, yeah. So, yeah, these documentaries are awesome. I reached out, you know, to say if you guys wanted to get on here. I was like, I really wanted to hear your Perspective and your thoughts on this stuff and stuff like that. And so I'm really glad we found time to do it because, you know, it's, it's, it's a fun. I think, I think documentaries are a lot of fun and I think based on the horror genre or, or the pop culture genre in general is awesome. So I'm glad you guys made this film and I'm glad you guys are making all the films that you're making because they're fun to do and my. It's funny. I, I don't know why. I'm going to put this in the hand of my local comic book shop owner. He's a massive RoboCop fan and I've sent him the link think to watch it a thousand times being like, watch this documentary. And he still hasn't yet. So now I'm gonna go to his house, I'm gonna put it in his hand and I'm saying, I'm gonna give this to you, please watch it. And you know, it's, it's. Some people are documentary fans, some people aren't. And I hope that he falls in love with it because of the fact that he's a big robocop fan. But hey, to each his own.
[00:51:05] Speaker B: Yeah. Well, we've got hopefully soon. Yeah, part two and three coming out as well, so that'd be interesting.
Yeah.
[00:51:12] Speaker A: But, yeah, so I really appreciate you finding the time to do this and discuss the film. Is that the, the Art. Art Attack, the dissection of Terrifier 3 is available on Screenbox right now. So if anybody wants to watch that, go and watch it. It's a lot of fun. And watch the films. I mean, you know, be prepared for some gore and some blood and some, some guts and some, some pretty gruesome scenes. But, you know, it's worth, I think it's worth it. I think it's. Again, like we mentioned, it's one of those things that 10, 15, 20 years from now it's going to. We talked about like Halloween and Jason and all these other films. Friday the 13th, those films, it's gonna be, it's gonna be put in that it's gonna be a horror icon Art the Clown that without his mask on. I keep thinking he works at like Enterprise Renter Car. Like David Howard Thornton looks like he works like a manager or he's like some sort of high school English teacher or something like that. He doesn't, he doesn't look like he dresses up in clown paint and murders people. It's definitely not not on. On his thing. Also, I think it's funny when you guys made this film was like after making Pen wise, you're like, yeah, we'll just talk about another killer clown. It's cool.
[00:52:12] Speaker B: But the weird thing was, again, I hadn't connected it, but that, you know, when Damien in. We interview Damon, Damien talks about how art was inspired by Pennywise. It's meant to be reverse of Pennywise quiet instead of being talking jokey. And obviously black and white as opposed to colorful colors. Again, we're like, we. We watch that and go, wow. You know, that for us, it's an impact straight away. Obviously, that there's a link there as well between the characters. Yeah. And it's. I never ever thought about. And actually makes so much sense that he's the opposite to Pennywise. The complete opposite. So he's like literally chalk and cheese.
And it wouldn't be. It wouldn't be an art clan about Pennywise, you know. Yeah. But it wouldn't be, you know, that's very well. That's very well established in the doc, you know, so that. That's cool. I think for us, that's what we've already celebrated, particularly Tim. And then you have this interpretation of a clown, which is very much inspired by Tim and the killer clown. I think he's great. And again, who would have known 10 years ago that killer clown would be so pop? Would have known that Stephen King, Tim Curry's. It would be so popular now. You know, John being a hardcore fan and me being a fan as a kid, you know, I would have dreamt, you know, of having a Pennywise Tim Curry action figure. T shirts, masks, costumes, you know, plush dolls.
It's just such amazing. That character is actually. We did the doc. It wasn't. He wasn't that big with the doc, was he? Really?
[00:53:36] Speaker C: The new one hadn't just come out yet, so.
[00:53:37] Speaker B: Yeah, yeah.
[00:53:38] Speaker C: Resurgence. Yeah.
[00:53:39] Speaker B: So he's kind of. It's been weird for us since making Pennywise that how popular the original Tim Curry version has become. I think that's great because it's found its world now because. Because of obviously, you know, the new movie. And it was interesting at times when we did the dot it wasn't. People knew him because obviously, who were kids watching it, but now to get an action figure of it in a bobblehead and a fucking, you know, any figure you can think of. 12 inch, 10 inches, 6 inches. It's ridiculous.
[00:54:07] Speaker A: Yeah, it's. It's so cool. And I love it. Like I said, I love the stories that I will. I learn. And I think that. And one of the things I'll tell a lot of people out there is these documentaries too. I think a lot of people in their head, like, watch it once, learn the stuff, move on kind of thing. It's like educational. No, it's always fun to go back because even in a documentary, I miss things. I don't know if I get a cup of coffee or doing something else, going to the bathroom, whatever, and I missed a story or. Or didn't fully grasp what they were saying or watch the documentary, watch the movie again, watch the documentary again, that kind of thing. So there's definitely, you know, buying it on the Steelbook is not an insane thing to do because of the fact that A, physical media is still number one and B, you can go back and watch it over and over again and not have to worry about finding a word to stream it and things like that, because, you know, it's a fun thing. But, yeah, I do appreciate you taking the time to discuss the film and so much more in the legacy of Terrifier and Damen Leone and so on and so forth. We'll have you come back on at some point in the future to discuss other documentaries and things like that if you want, but until then, I appreciate it.
[00:55:06] Speaker B: No, thank you. Thanks for having.
[00:55:08] Speaker A: Appreciate it.
[00:55:09] Speaker B: Thank you.
