[00:00:00] Speaker A: Welcome back to the Capes and Tights podcast right here on Capesandtights.com I'm your host, Justin Soderbergh. Once again, this episode is brought to you by our friends over at Galactic Comics and Collectibles at collective comics and collectibles.com this episode we welcome Rebecca and David Ian McKendree to the podcast. They are filmmakers who are writing comics now. It's great. So Rebecca McKendry is a filmmaker, writer, producer, director, academic who is known for films directing films such as glorious with J.K. simmons, Elevator Game, all the Creatures Stirring and much more. David Ian McKendree is a filmmaker, writer, producer, director who has written films such as Glorious, Elevator Game, all the Creatures Are Stirring. The pair has jumped over to co write a comic book series over at Dark Horse Comics called Barstow which is available in trade coming in September 2025. But yeah, we chatted movies, we chatted horror, we chatted Barstow, we chatted comics, we chatted all those things. But before you listen, check us out on Facebook, Instagram, Twitter, bluesky, threads, all those places you can rate, review, subscribe over on Apple Podcasts or Spotify or wherever you find your podcasts, as well as you can find us on YouTube.
And lastly you can find us
[email protected] for reviews, articles, opinions and so much more. But this is Rebecca and David Ian McKendree talking Barstow and so much more. Enjoy everyone.
Welcome to the podcast. Rebecca and David, how are you guys today?
[00:01:26] Speaker B: Doing good.
[00:01:28] Speaker A: That's awesome. Thank you for getting up. It's fairly early where you are, right?
[00:01:32] Speaker B: I mean, you know, we have kids, we've been up since 6, so.
[00:01:35] Speaker A: Yeah, well, it's always one of those things. It's like, I've talked to people like, we can't talk until 2:00 in the afternoon. I'm like, you're in New York, I'm in Maine. That's 2 o' clock Eastern. You're. You can't talk till 2. Yeah, I work late. I'm like, okay, no, by that time.
[00:01:49] Speaker B: The kids are home and we're lost. At that point, the world is done.
[00:01:54] Speaker A: Yeah, well, it's true. It's, it's one of those, like working with people. And I'm for our horror, we do a horror week here in October and I'm Talking to Neil McRobert from the Talking Scary Podcast. And their time difference is massive. I've talked to people from Australia and things like that and it's like trying to figure it out. And I'm like, I can't record at 2 o' clock in the morning. I'm sorry, I just can't do that. It's not. I have small children too. I'm up at six. I'm in bed by nine o' clock at night, so I can't.
[00:02:17] Speaker B: Same. Yeah, we go to bed about 10. We're done.
[00:02:20] Speaker A: Yeah, we're done.
We're checked out. Yeah, we. We had a. I had to cancel it, but it was recorded with someone else who, who had a shooting schedule. And they were like, yeah, we can do it at 6pm Pacific. And I'm like, well, that's really. After they go to bed, so that's okay. And then they had to cancel because they were so tired from shooting that day. So. You know the feeling. You know the feeling. You know the feeling. Yeah. But. Well, I'm going to say first off, thanks to you two for ruining you and Joshua hall, ruining public and rest stop bathrooms for me further than they already did. I want to say that right now. And then Nat Cassidy recently wrote a book or a novella called Rest Stop that also further ruined public bathrooms for me. So thank you so much for doing that, by the way, for ruining public rest stops.
[00:03:02] Speaker B: You are so welcome. We had debated all these different types of restrooms when we were writing that. And what ended up happening. Cause Dave and Josh were doing that one during the middle of the pandemic, and we couldn't get into a lot of restrooms. We were like, well, we can't. Restaurants we. We can't even get into.
[00:03:19] Speaker C: Like, they were all booked up.
[00:03:21] Speaker B: Yeah. So what we ended up doing was we were able to get. Ikea was still open during the pandemic. And so as we were trying to think, because we wanted to build it out like a bathroom escape room. And so that's the bathroom that it was based on was the bathroom of the IKEA in Burbank, because it was one of the few bathrooms we could get into during the pandemic.
Perfect to kind of see, like. Because it was all about, like, I need to get into one and, like, feel what a public restroom feels like. What you see is a set. But yeah, it was. The set is designed after the IKEA bathroom.
[00:03:57] Speaker C: Inspired by.
[00:03:58] Speaker A: Inspired by. Not the same. People could go to that. Don't. Don't hold it in. If you're at that ikea, don't go to that bathroom. Please do not. Do not be like you're gonna get stuck behind.
I actually rewatched it again this Weekend. Glorious. It was just. It's just a fun movie. Simple, but. But terrifying. It's great. And thank you. Like I said, thank you so much for me having to hold it in when I'm running on a road trip, because I'm like, I'm not going in there.
[00:04:20] Speaker B: Thank you. Hopefully you're not quite as GR as we made it in that one. Yeah.
[00:04:24] Speaker A: Well, you pointed out some farts.
[00:04:26] Speaker C: Pretty nice.
[00:04:27] Speaker A: It was relatively. Yes, yeah. Yes. But. So you also pointed out some facts about fecal matter and things like that in bathrooms. It's not even the horror of a supernatural horror film. It's the statistics that are real that we're like, I don't want to know about that. Please don't talk about the fecal matter in the air.
[00:04:44] Speaker B: That's very much a Dave McKendree deep dive, because he. We will start writing about something.
Yeah. He'll come back with, like, the most innocuous researched facts where I'm like, did you lose a day researching this? And he will. He will. It's like some rabbit hole. He goes on, so. But in this case, they really worked. There's a few of those in Elevator Game as well. About the inventor of the break for.
[00:05:07] Speaker C: The elevator, Eli Otis, he invented the asbestos breaks on the. The elevators.
[00:05:12] Speaker B: Yeah. And the rotating bread oven. So, yeah, those things just come out naturally anytime you work with Dave.
[00:05:18] Speaker A: That's right. It adds some realisticness to the movies that. That adds a little level of depth to it. But, yeah, it's. It's one of those things that I was just like. It's like someone's like, you know, was made. I'm like, I don't Want to know 2 o' clock in the morning. If I need to eat a Taco Bell, I need to eat Taco Bell. Don't tell me the history of the meat products that are in this thing. I just. At this moment. Tell me, like, later on while I'm, like, physically eating.
[00:05:37] Speaker C: You still think it's meat?
[00:05:39] Speaker A: Yeah, exactly.
[00:05:41] Speaker C: I'm kidding. Taco Bell.
[00:05:43] Speaker A: Yeah. There are. Well, no. Maybe one day there'll be a sponsor. No. Yeah, it's true. There's fun facts. Add that to it. But. So you guys are filmmakers. You know, that's what you're really known for in the world of. Of media and things like that. It's filmmakers. I mentioned you were before you got on here, David. We got all the creatures strewing here. We got Elevator Game. We got Glorious back here.
But. Yeah, but Barstow comic at Dark Horse Comics. Are you two comic book fans and this is, or is this just like a place? Who are comic book fans going into this, which is great.
[00:06:16] Speaker B: Oh, die hard.
[00:06:17] Speaker A: Awesome. And so how did this come to be? Like, how did this start you to become percolating and become a process of making a comic book?
[00:06:25] Speaker B: The pandemic.
So we. Oh, go ahead, honey.
[00:06:28] Speaker A: Oh, no.
[00:06:29] Speaker C: Well, I was gonna say the story originated well before the pandemic, maybe 10 years prior.
We're doing a cross country trip from New York to la and we don't fly. We're not very good flyers, so we drive most of the time. And we stopped over in Barstow at Denny's and kind of looked around at how strange the town was, how unique it was and beautiful, scary combination of art and a grittiness. And we just started thinking about this town and the underbelly that existed in this town and started coming up with stories behind it. But it was originally a screenplay that we wanted to.
[00:07:12] Speaker B: It was a pilot. Yeah, it was a TV pilot. And we had. And I don't think I can say where it was, but it was actually optioned twice by two different TV networks as a TV show.
And so we had had this pilot that we had been shopping around for about two years at this point. And one network had optioned it for 12 months and then didn't do anything with it. Another network had optioned it for 12 months and it came back to us during the pandemic. We were actually sitting in my parents driveway in our rv. We're big travelers, so we, we drive around all over the place in our camper and we were sitting in my parents driveway in Virginia in the middle of the pandemic and it was like July and everything was completely locked down. And we got an email that the option had come back to us and we were like, well, nobody's making anything right now. What the hell do we do? And we had just done something similar with another TV pilot that we had had, which we had taken.
It's another graphic novel coming out called Pretty Evil. It's coming from Simon and Schuster. Tim Seeley did our artwork. It's amazing.
And we had just taken that TV pilot, turned it into the first 60 of a graphic novel and sold it to Simon and Schuster. And so suddenly this option comes back to us and we're like, is this a comic book? Can we do this as a comic book? Because what we kept getting in the TV pilot world was it was expensive because there was like dimensional stuff happening and that it was Big heady concepts. It wasn't just a crime thriller. It's not just horror.
There's comedy in it, too. There's a satirical nature to it. And that we kept hearing, like, it's a lot of these different things mixed together. But people were always kind of nervous about how to sell it. And regardless of whether or not they loved the pilot. And so we kept thinking, well, as a comic, suddenly some of those don't matter, because we've read comics with those tones. Like, it's the place where you can explore a lot bigger ideas with less of that. Well, if I can't market it, like Last of Us, I don't know what to do with it.
And so we turned it into the first two issues of a comic book and started shopping it out. And, yeah, we were elated when Dark Horse called us.
[00:09:26] Speaker A: That's so awesome. So, yeah, it's one of those things that, like, I love talking to people who are filmmakers who make comics or authors who make comics or so on and so forth. That where this. It didn't have this feeling. It has a cinematic feeling to it, but didn't have the overall, like, oh, it failed everywhere else. Let's make a comic book out of it. It had that. Like, it still was. And us as comic book readers were lucky enough to get it that way. You know, like, there's so many times where I'm just like, oh, cool, it was a great film. Oh, I want to see it as a comic. But sometimes we get lucky enough as comic book readers to get that product or the project, I should say, that was supposed to be, or wanting to be a TV show or a movie, whatever, in comic book form. Because it does have the same similar feeling. I mean, there are people out there who are comic book artists who are also storyboard artists in Hollywood. Like, you know, there's that crossover. Like, there is that panels and scenes and setting it up in comics, and you get that ability to really not have a limit to what you can do in this comic. Like, you mentioned about the cost. Like, each panel could go crazy and not cost really any more than the previous panel. That has just two people standing there.
[00:10:24] Speaker B: And that's been our biggest kind of revelation.
[00:10:27] Speaker A: Yes.
[00:10:29] Speaker B: And suddenly the things that we had been talking with TV executives about, that they were like, well, we can't do this in the first episode. It's too expensive. Reveals too much about the other world. Suddenly it was like, well, we can do anything we want now. And without revealing a lot, we have several more comics coming. Because it has kind of opened our eyes of, like, why would we even take this out as a TV pilot? We're going to hear these same things over and over. Let's start with a comic. And so a lot of the stuff that we have coming is original comics that we just had ideas that we love, that we felt would work just as well in any form. So it's really opened our eyes to kind of how we can get our media out there without having to go through 50,000 gatekeepers determining whether or not they can sell it as Walking Dead space.
[00:11:16] Speaker A: Yes, exactly. And you guys got to say, lucky. But how did you get paired up with Tyler Jenkins to make do the artwork? Like, is that someone that Dark Horse helped you with, or do you guys know them?
[00:11:24] Speaker B: We put him in the original pitch deck, so we didn't know him, but I was such a big fan of some of his work because we're both avid comic book readers. And so we both. We had listed maybe two or three people in the actual pitch deck that we sent over of it. And we think the art would be really cool by, like, this, this, and this. And we really like Tyler because his.
And I say this with love. The messiness of his work, it reminded us of, like, OG Fear and Loathing in Las Vegas art.
Dave, who did the art on that? You? Ralph Spiegelman. Spiegelman.
[00:11:59] Speaker A: Steadman.
[00:11:59] Speaker B: Ralph Steadman. Thank you.
[00:12:00] Speaker C: Spiegelman was Mouse.
[00:12:02] Speaker B: Oh, God, no. That's vastly different.
No, but it reminded us of, like, that early Fear and Loathing in Las Vegas, which is set, you know, they go through Barstow. It does have that kind of Mojave Desert feel to it and how it kind of makes the world feel even grittier. And so we had kind of mentioned all of that as, like. And here's why we want Tyler Jenkins to do it in our original pitch deck. So when they bought the comic, they bought it saying, and, yeah, we love Tyler for this.
[00:12:29] Speaker A: Yeah, I guess it does wonders. I mean, there's this. It's. There's a team that goes into making a comic book, just like there is in a film set or anything like that. There's a team that goes into that, and that does do it justice when you have the right artist that does this. There's some imagery in there that I didn't even want to see that much. There's some imagery that may give me nightmares on that stuff. But I think it's a mixture of what you guys are explaining in writing versus what there's actually being Put on, you know, pen on paper for. For the illustrations. It's kind of funny. So Barstow. You keep on saying Barstow because obviously the name of the comic book is called Barstow. It's, you know, Barstow is a place. The only time I've ever even been introduced to Barstow was from Fast and the Furious.
So who's that? Is it Tyrese, whatever is from Barstow or goes to Barstow. They do this thing. And so to me, I'm always like, where are the Fast and Furious cars? No.
[00:13:13] Speaker B: And I will say Barstow in general.
[00:13:16] Speaker C: There's a big car culture.
[00:13:18] Speaker A: Okay.
[00:13:19] Speaker B: Huge car culture. Barstow is really. And we use it kind of, I'll say, almost like a portmanteau in there because we're using a couple of different small towns within there, and we're all kind of putting them under Barstow. And it's like Victorville. There's Palm Desert, there's High desert. There's just a whole bunch of really eclectic, like, little tiny towns around that area that we were kind of all combining into this one larger space.
[00:13:42] Speaker C: Things get different when you enter a desert town. Some of these small desert towns, it just. There's a different feel to them you don't really get anywhere else.
[00:13:52] Speaker B: And it's less than an hour out of LA. That's the weird thing is it's literally like a 40 minute drive from our house in Burbank, but it feels like a completely different world. And so that's why I would have.
[00:14:03] Speaker C: Said an hour and a half. But you. You fly, so it depends.
[00:14:07] Speaker A: I would drive a little in the. In the rv. It's an hour and a half. And your car.
[00:14:12] Speaker B: We could be in Palm Desert in an hour, I'd say.
[00:14:15] Speaker C: All right, let's go.
[00:14:17] Speaker B: We'll argue this.
[00:14:17] Speaker A: This later on. Yeah, your car gets mine. Yeah, exactly. Let's do this. It'll be a lot longer for me to get to Burbank or to Barstow, so don't worry about that. It's. It's. It's. It's a long travel from Maine to those two places. So it has this. But. So you. You talked about creating obvious from a film or a TV pitch to doing this as a comic book and that you've actually obviously opened some doors and some thought processes behind maybe doing this in the future. Do you feel like. So. So people are harsh on the Internet? I don't know if you knew that or not, but.
[00:14:48] Speaker B: Oh, I'm very familiar with it. Yes. Yes.
[00:14:51] Speaker A: So I extremely enjoy. I Think that you guys writing and directing styles are really well, well done. I do. I love your guys's work. So. So people can be harsh in the way movies are made or the production costs or different.
[00:15:04] Speaker C: Are you going to start reading our negative reviews?
[00:15:06] Speaker A: Yes, right now. Here we go.
[00:15:08] Speaker C: Okay, here's all the comments section on everything you did.
[00:15:11] Speaker A: I guess my point is that like glorious, you know, all the creatures, stirring, Elevator Game are extremely well done movies in my opinion. But some people can be picky because obviously they're their lower budget. Whereas you don't have to have that problem like I mentioned about that with comics. And I think what will end up happening and hoping is happening is that maybe Barstow now people see it and they see it visually in a comic, can now be transported themselves into a movie or a film or a TV show because of it. And so not that you're using comics as that, that, that launching pad, it's almost a proven concept at that point. So that people can, if people do buy the comic and like the comic, then maybe you can make it in there, but you don't get that judgmental part of that side of things. Whereas the production value is not there. When you're at a publishing place like Dark Horse, you've already got the name behind it. So you're fine because people like Dark Horse. But now you can just tell your story and have the artwork out there, not have to worry about what the budget is that goes into it. And I think that was huge about it. I think that your stories are well told and I think that putting in comic book form almost made them better. I almost would have probably liked this better in a comic. Not as a comic book fan, but as a TV show because you get to do more with it. Do you feel that way as a long way to ask the question, like, do you feel that way?
[00:16:12] Speaker B: But, well, we. I will say I, I love low budget films. Like I am one of those viewers who I will watch anything and if somebody is able to tell an interesting story with a decreased budget, I have like way more respect for that because I've been in the trenches and I know what it's like to make a film for, you know, pen and still trying to tell a captivating story somewhere in there or something, doing something you've never seen before. That's what I always aim for is I'm like, you know, I can't make a bajillion dollar movie here, but can I at least do something you've never seen before but with comics what we now are viewing it as and books as well. We have other books coming out too. We have four other graphic novels on the way, both middle grade YA on up, and then a couple of comics as well. Is we've now viewed it very much as a place to get not necessarily IP started but to really expand our idea. Because when we're looking at something as a screenplay, the very first conversation that we have to have is what is the likely budget? And it's a rough place to be starting from. And we would love to be able. We always write a screenplay as it comes out and then it's $30 million. And then as soon as you take it out, somebody says, well, we can give you 1.5. And then you're suddenly rewriting the entire.
[00:17:32] Speaker C: Thing to, you know, to make the $30 million.
[00:17:37] Speaker B: Well, you can't lose the motorcycle scene. It's just like how, how do we do this? But we have viewed comics as a place and graphic novels in general where we don't have to be restrained like that. Where we're not asking anybody for permission or asking to get anybody's money and we can just go big. And so all of the things that we have coming out in graphic novel and comic book form are ideas that we've had percolating for a long time, but they're things that we were always like, there's no way we'd ever get that much or my God, this TV show is going to cost a fortune. And so it's things that we've been able to really expand and demonstrate the idea and the IP without having to have that cost prohibitive thing.
[00:18:21] Speaker C: You know, comic books are also one of the last places where last media out there where you don't have to be afraid. Like there are, there's so much fear in filmmaking and TV and everywhere else, but with comics, you, you actually have one of the last bits of fearless media out there where you can experiment, do what you want and tell the story that you want. It's, it's kind of a shame. There used to be people that would make films to tell a story and now it's kind of like people are afraid to make those films because they're afraid to lose money. And so.
[00:18:54] Speaker A: Well, that's true.
[00:18:55] Speaker C: But.
[00:18:57] Speaker A: Well, I've seen and I've gone over with people like sitting around a fireplace at our fire, out night at the backyard or something like that, have these random conversations about the Internet or, or movies or whatever. Is that if you look at the top 10, 15, 20 highest grossing films of all time. Right now, they're all sequels or continuation of some sort of universe. So whether it be Star wars or Marvel, it's just all the same stuff. So there's no. These original. It's very little original ideas in there. And, and what I do have seen and whether it be book format or comic book or graphic novel, is some of these screenwriters and directors and people going into this being like, this is an opportunity to tell a visual story in a different way and still get the same and make sure maybe even more of an impact on it. You don't see. It's not as many eyes, you know, not as many people even. And even in a small, lower budget horror film might be actually seen by more people than a potentially a comic book. But still there's still this way of getting the story out there and way of making this artwork out of it.
[00:19:50] Speaker B: When.
[00:19:50] Speaker A: So you guys, you know, have you written, you both written, both directed films and so on. How do you, you know, this is kind of the nitty gritty of making these books more than less less about the book itself. But how. What roles do you take in this? Like, I know, like so like, you know, like if you do a specific movie where you're writing, Rebecca and David, you're directing, you obviously have your roles and this. You're both writers, you're co writers. Do you still set up a director writer kind of mentality on things or is it just spitting ideas back and forth at each other? How does this.
[00:20:17] Speaker B: We do a lot of spitting ideas back and forth.
We tend to be kind of what I'll call very traditional writers where we start with an idea sheet. Like we'll start with just bullet points.
We do a lot of dry erase boarding, so we'll have dry erase boards covered with our ideas.
And then we go to an outline form. And once we both kind of. We'll usually pass the outline back and forth a lot. Sometimes we'll sit in the room and like hash ideas out. But when it comes to the writing, we'll pass drafts back and forth because we find we know some co writers who will write simultaneously. Like we call it. One person will drive while the other person sits behind them and like, you know, watches over their shoulder. We can't work like that. We will destroy each other.
[00:21:02] Speaker C: Nothing would ever get done.
[00:21:03] Speaker A: You would not finish?
[00:21:04] Speaker B: No, I'd just be like, quit making that sound with your mouth. Stop it. Are you eating again? Like it's. And I would do this. He would do the same to me. And so, yeah, nothing would ever get done.
So we always begin top of the day. Like we take walks all the time. We like walking. And so top of the day we'll take our dog for a walk and we do like a two mile loop around our neighborhood very first thing in the morning as soon as we get let the kids off to school. And that's when we kind of do all our ideation about what we're going to work on that day or where it's going. And then one person will drive, like actually write the thing while the other person is usually proofing whatever we did the day before.
And so it goes back and forth. And sometimes we'll do it as a Google Doc so we can both be working simultaneously on different sections, but with screenplays. We haven't found a software we really like yet that lets us.
[00:21:54] Speaker C: Well, final draft does, but like it's expensive.
[00:21:58] Speaker B: So that with screenplays we tend to pass drafts back and forth.
But like with the comic book, we very much do like ideation up at the top of the day. And then one person will write and usually it gets passed to the next person at the end of the day and then the next day that person will write and then we pass back. And so at any given time we'll have two projects going back and forth and we're just swapping who's working on what every couple of days.
So that way we can keep stuff moving. But we're also, yeah, still moving forward as quickly as possible.
[00:22:30] Speaker C: We have to have that sand in the sandbox as we say, where we have something has to be completed even if it's terrible in that first draft. We have to have at least that to keep going.
[00:22:43] Speaker B: Yeah, we always. It's the Hollywood vomit draft where we, we will. Usually Dave does that first one because you're easier at getting it out. If I do the vomit draft, I'm gonna overthink it for like a month.
Dave can just kind of spit it out really well and then give us a workable place to come from.
[00:23:02] Speaker A: It's you, it's, it's. You're not just co writers. You're, you're, you're married. We are so. So the best part about this, I'm trying to think and this is nothing to say anything but you. They're in two different houses right now. But that's not why.
[00:23:14] Speaker B: Just this is not normal. We're moving.
[00:23:17] Speaker A: Yeah. This is not like, oh, there. They can't get along right now. They can't do this together. Can't be in the same house. No, it's a big thing. And I say is, like, you guys do work together, so that's. That's a big and. So, I mean, the simple question would be, how do you do it? No, but, like, it's true, though. Like, I mean, you guys have to do, like, at least, like, my wife works four minutes from where I am right now. We're in the same town, but we don't see each other. We text back and forth or whatever, but, like, between the hours of 8 and 5, we don't see each other. And so some might say that's the best thing about a relationship. That's how we still stay together. But you also have to work as co writers. You have to work. You're married. So, like, when you don't get along or the story doesn't go that well, you have to deal with that, you know? And again, how do you do it?
[00:23:57] Speaker B: So we.
[00:23:57] Speaker C: Most of our arguments are about writings.
[00:24:00] Speaker B: Yeah, that's the thing is we realized long ago that actually, like partner. Like marriage partners, we don't argue that much. We tend to be pretty much cohesive on things. But if we're arguing, 90% of the time, it's about a story.
And honestly, it's reached a point where we need to start giving our kids, like, co writer and, like, associate producer credit because it will spread over into dinner, where we're still like, I think he should be a chiropractor. No, I think he should be a dentist. And then we're sitting there and our kids are like, just make him like, you know, a head. A psychologist. And then suddenly we're like, that's it.
[00:24:34] Speaker A: That's it.
[00:24:35] Speaker B: Okay, we needed that.
[00:24:36] Speaker C: Our daughter is probably the best at coming up with titles.
[00:24:39] Speaker B: She's really good at titles.
[00:24:42] Speaker C: So she'll mention a title and we'll be like, oh, that's gotta write a story about that.
[00:24:46] Speaker B: I have a list going on my laptop of titles that she's come up with where she'll just come out one day and suddenly be like, you need a story called Blank. And we're like, what's the story? She's like, I don't have a story. I just have the title. But it's like a really good title.
But that tends to be. It is a lot of times. And I think that we've also from, you know, a long time working together because we met in a class in college. Like, we've been doing this together in a theater class, a script writing class. And so we've been doing this together forever and we've realized that there's also something to be said for not talking about it. That if we can't figure something out, if we're really frustrated by a story point, if we sit there and try to beat it out of ourselves, like, really brainstorm it, we will come up with shit ideas. Whereas if we're just like, I have to get the kids from school. Let's do tacos for dinner. Like, as soon as we stop thinking about it and move on with our day at 8 o' clock that night, something brilliant will come. Like, we have to separate. We always say that our best ideas will come while we're on the road or while we're camping, because it gets us out of that. Constantly having to think about creative, where it moves forward. And as soon as we're out of the house and not thinking about it, something will come.
[00:25:59] Speaker A: Yeah. Yeah, that makes sense. I just. I just know that people work together. I work a day job. I'm a graphic designer, creative director for a brewery. And two of the four owners of the brewery are husband and wife. And so it was like one of those things where people are always like, how do they do it? And, like, they both call each other out on their shit. That's what happened. That's the best part about it was, is that, like, when someone's being an idiot, she's like. Or one of them goes, you're an idiot. And they're both like, yeah, I guess. I guess I'm an idiot. I'm like, that's. The truth of the matter, is that they just tell each other what's going on. And I'm like, that's how it works. And they've been doing it for 10 years and doing a great job.
Nothing ever comes out in your movies that you guys are fighting. So that's good. You put it all on the screen. It's all good. You're good to go. But yeah, it'd be funny if you ever get a phone call or police officer stopped by being like, we heard some. Some yelling in here. And the kids are like, no, they're fine. They're just yelling at. About us story.
[00:26:45] Speaker B: We've had to explain it to my mom before because, like, when we would go visit her, she'd be like, I heard arguing in the camper. And I'm like, no, we're trying to come up with a title.
It's a whole thing. It's not even a fight. It's just we get really passionate, but we Also, that's kind of our theory is like if we, when we are fighting over a concept that we're both fighting for in a script, like, no, this has to be in there. No, I don't think it should. It's because we're both really passionate about it and it means that we like what we're writing, that we care about it. Like if I was just like, eh, fine, like I don't care about it.
[00:27:20] Speaker A: So.
[00:27:21] Speaker B: Yeah, like you want that forever.
[00:27:23] Speaker A: Yes, yeah, exactly. And that's true.
So you have these stories, you're creating these things, you're creating films still, you're still obviously screenwriting, you're still directing, you're still doing all that stuff. And now you're creating comics. And now some of these stories are coming from previous comics or previous ideas. Yeah, you'll eventually get to ones that you're creating potentially for comics specifically. Right. I mean, I'm guessing that's your goal.
[00:27:43] Speaker B: Yeah, we have a couple coming that are not based on anything that we just created for comic purposes. So we have a few coming that after Barstow we started brainstorming just like what would make good comics. Let's not even think about it as anything else.
[00:27:58] Speaker A: But so. And you said that the screenplay and the idea behind Barstow or the pilot episode was the first two issues. So obviously it's a four issue series. You had to create more to that story. The last two issues are created for the comic book. Right. There wasn't like I said, you had the idea in your head is this. Was that. Was that a unique experience was at the beginning of that, that creating new stories or comic kind of thing?
[00:28:19] Speaker B: Well, when you pitch a TV show, you have to pitch the entire first season.
[00:28:23] Speaker A: Okay.
[00:28:24] Speaker B: And so what you're reading there is the first season.
And so it had not been written, but we kind of had an idea of where I.
And we parsed it down. That was one of our learning curves with comics is we even had other characters in the pilot that we had to cut because we realized that it in a comic sense that we already had a lot of characters in there and that it was easier to follow. Three factions I think is what we included in the comic as opposed to. I think we had five in the original pilot.
So we kind of shrunk the world down just a bit. But if we ever keep going with it, we'll bring the other factions.
[00:29:05] Speaker C: We built out a whole world and a whole storyline that we didn't explore in this one. But yeah, we could always bring back.
[00:29:12] Speaker B: In yeah, yeah, Basically we had it so that by the end of the first season of the TV show, you felt like you knew all of the major players in town.
Like the church was more integral in the TV pilot and. Yeah, but we, when we were trying to figure out what we would parse down, it was always, well, what's going to be a more interesting comic? Like, where is the emotional pull coming from? So we kind of went with the ones that we found to be the most captivating elements of it.
[00:29:41] Speaker A: We've obviously discussed a little bit about the behind the scenes kind of stuff and we're talking a little bit about Barstow. But can you guys explain a little bit to people what they can expect in Barstow if they read the trade paperback coming out in September?
[00:29:54] Speaker B: Yeah, it's. We'll call it a horror noir is. Where our first kind of genre came in, is that we did want it to have this kind of gritty crime element to it, kind of a murder mystery, but horror. And then from there it brings in a lot of what Dave and I bring into everything, which is a satirical nature. It's got a lot of, I don't like to call it comedy, I just always say a dark levity to it, so. And then also Lovecraft, it's all the things.
[00:30:27] Speaker C: And some David Lynch Blue Velvet in there as well.
[00:30:30] Speaker B: Yeah, it's great.
[00:30:33] Speaker A: So you guys, you tell stories, you tell horror stories. Is there something specific about horror that draws you two into this genre? I mean, I know I just read a book recently, I don't know if you've heard of it, called why I Love Horror. It's coming out in September.
It's an anthology of these little essays of people who. How they got from horror authors, but how they got, you know, why they love horror, why this. And one of the big things is community and the idea behind the horror community. But. But what draws you two into horror?
[00:30:58] Speaker B: You know, I've always been a horror fan. Like, it's all I've ever watched since I was a kid. Like, I started with like Goosebumps and Scooby Doo and just kept going from there. And Dave, I think it was weird movies, more of like cult stuff and hard.
[00:31:12] Speaker C: Yeah, cultivar bizarre. Just the real off the wall sort of things that just. I got drawn to.
And I'd say now it is, it is a lot of it is the community as well. It's a real big draw. The fans of horror are probably the best fans of any genre of media out there.
They absorb everything, not love everything. But just take it in, accept it, and.
And crave it, I guess.
[00:31:42] Speaker B: And straight out of our college, when we graduated, we moved to New York City and we both, almost within the first month that we moved to New York City, got jobs at Fangoria. I was working for the radio show and Dave was working on the TV side. And because at the time Fangoria had a cable output through Comcast in New York or Time Warner, I can't remember which one, but we had like, online.
We had an online component as well. And so, yeah, we were both working there. And this is like straight out of college in our 20s. And so we were just submerged, like, headfirst into the horror community and to the convention space, into everything that was going into it then. And it was just such a beautiful place. We've never left.
[00:32:29] Speaker A: And it's a little bit of everything you mentioned about comedy and the levity, the humor part of it too. It's like there's this, like, feel, like there's like a. You can have a heist horror movie movie and a comedy horror movie and a romance horror movie. There's like all these different sub genres to it that, that draw people in. It really has something for everybody in it.
[00:32:43] Speaker B: And.
[00:32:43] Speaker A: And yes, there's this scariness, the unsettling part of it all that some people just don't. Can't handle, which is fine.
But the community itself is great because I feel like they just want the next great thing that doesn't really matter who it comes from or in what form it comes in. It could be a movie, it could be a book, it could be a comic. If it's a good story, they want to read it and they want to take a part of it and they want to share it with other people. I think that's one of those things that I think there's like. There's like a, like small, like romance has the whole. I want to share with other people, maybe some fantasy stuff, but, like, horror is like this. I just don't know. Maybe because I'm just entrenched in it and I'm part of the community that I see it more, but I just see this, like, there's a lot, very little hate on each other, which we think that people would be like. The outside people are like, there's probably a lot of hate in the horror community because of like, the, the. The. The surrounding unsettling and uneasiness of horror, but there's not. It's all love. It's all. I don't know, it's Something about you can tell whatever story you want and people still love it for some reason.
[00:33:35] Speaker C: I mean, if there was. If it wasn't about love, then. Then horror conventions would be a very dangerous place to go to.
[00:33:41] Speaker B: Yeah, and they're not.
We just did Midsummer Scream, like, last weekend, and it's just a big old, like, festive. Everybody appreciated. Everybody. On my own podcast, we always equate it back to Microwave Massacre because we both. My. Both my co host and I watched Microwave Massacre. And I'm just gonna say it was not our fave. It was. It was one of those, like, 80s movies where we were like, huh, that's a thing.
But at the same time, we always approach it with this level of respect of there is somebody somewhere that has a Microwave Massacre poster above their bed and it's one of their favorite movies ever. And that is the beautiful thing about horror is every single film that I might watch and go, you know, not for me, there is somebody else. That. That is their world. And even like with. With mine and Dave's own viewing preferences, we have our. And I shudder to call them guilty pleasures. I'll call them just, you know, our maligned films that we love because there's nothing guilty about it. That's the beautiful thing about horror. There are things that I will defend to the death any day of the week and that I absolutely love that there are these kind of moments in horror where some things might not hit for everybody, but for somebody else, it redefined them.
[00:34:53] Speaker C: Absolutely.
[00:34:54] Speaker A: It's. It's true. And it's one of those.
I don't know, I just. Sometimes I can't put my finger on it either. Like, it's just one of those, like, I just love that film. And it's like, oh, I happen to be a horror film. That's great. It's just. I actually was a big horror reader and big horror comic book reader for. For many years. Horror movies to me were always, like, in the back seat for some reason.
And then it also just like, clicked. I watched a couple of great horror classic horror movies and I'm just like, okay, I can't get enough of it. I want all of it. I want to watch high, low budget, high budget, doesn't really matter.
I want it all and I wanted to watch it on a regular basis. And that's what's cool about, you know. And then when there's this crossover, to me, this is a huge thing. When I read a book like 81:14 from Joshua Holt and see that, like, okay, I love Joshua As a screenwriter and director, all this stuff. But I also love the book. And then with this stuff with Barstow and with Glorious and things like that, with you guys crossing over to the comic book medium, it's just great because it gets more stories from you two, but you'll get it more frequently. And that's the thing is that. Not that it takes easy. It's not a quick thing. It's a lot quicker. I would say a lot more. I say easier. But there's less moving pieces in a comic book creation than there is in a film. Film creation. Right.
[00:35:58] Speaker B: I will say, yeah, there's less cooks in the kitchen.
[00:36:00] Speaker A: Yes.
[00:36:01] Speaker B: That's kind of at the end of the day, like, there was still, you know, I. We were not aware how long the art takes. And it did move much faster on Barstow than it has on some of our graphic novels, where I'm like, we sold that in 2020, and it's still not out because the art is. Takes so long.
But with that, you know, there's less.
And this is books in general, there's less people that you're answering to. When I make a film, even like the studio stuff I've done, you know, I might have anywhere from like 10 to 20 execs or producers or varying level of people above me, including financiers and networks and distributors, who will have commentary notes or some level of control over the film where they can call me up and be like, I don't like this edit. Yeah, but with a book, we basically have an editor.
So it. And then, you know, we want it to be a collaboration with our artists. So we're working really heavily with them. But it's definitely a lot less cooks. And in that, it was easier to kind of.
There's less people. I have to explain intention to. If David, I want to do something weird.
[00:37:07] Speaker C: You know, when you watch a film nowadays and you see the. The opening credits and they had. There's like 15 of those little reels at the beginning for each production company, that production id. And they all have. And you don't know when the movie starting. You just see another reel to start up. That's another logo. There's another logo. Those are all just everybody that had a say in how that movie was made.
[00:37:31] Speaker A: And in comic books, you have like, dark version. A couple of people. Like, there's not like.
[00:37:35] Speaker B: So.
[00:37:35] Speaker A: Yeah, yeah, it's a lot.
[00:37:37] Speaker B: Yeah, it was a lot.
Because you do. As an artist, you're constantly defending your ideas, especially in a film sense. I do it's a ton of that. Of like, no, here's why. It's gonna get weird right now. Here's why I need this extra $10,000 there for this effect. This is why I have to have it. Because everybody will constantly question where you're spending money and why, and you have to defend it. I did not have to do that here.
[00:38:01] Speaker A: No, you just have to be like, hey, Tyler, can you please do this?
[00:38:04] Speaker B: Can you please do this?
[00:38:06] Speaker A: Can you please do that? You know, so in. And now I give credit out to Justin Birch. To Justin Birch is an excellent and phenomenal letterer. And so that's kind of an unsung hero sometimes in comic books. Justin did a great job on that too as well. On this. In this graphic. Or now we're pitching the graphic novel because it's coming out in September 23rd from Dark Horse at bookstores, which was amazing thing. When you talk, if we were to discuss this before issue one hit, it's like, oh, your local comic book shop. But what's cool about a trade paperback or a graphic novel is that it's available at bookstores too. So you can go in your Barnes and Noble, you can go into your local bookstore in your downtown area and ask them to get this graphic novel and they can get it in there, which is really cool. So September 23rd, Barstow hits shelves, which is really awesome.
It's a visceral.
It's really. You guys, honestly, I'll tell you that right now. How you guys make films and stuff like that is how this comic book is. And I think it's wonderful. I will say I'm excited for your Tim Seely project because Tim Seely is one of the greatest comic book creators that has ever lived. So you guys are lucky. And I will say that you guys are lucky that Tim's doing this book for you because I think he's phenomenal.
[00:39:09] Speaker B: Is amazing.
[00:39:10] Speaker C: Yeah.
[00:39:11] Speaker B: Yeah. When you're looking for artists to do. Especially this one because that one's ya. It was a lot of conversation about how we wanted it to look in the element of world building and making the world feel alive. And so, yeah, Tim just really kind of nailed the world building of it and makes it feel huge. And then we have another one coming from Penguin random house called 1313 Shadowbrook Road, which is, I'll say, it's like X files for a 10 year old girl in a New York City apartment building.
And that one, I think is end of next year. That one's headed this way. Yeah.
[00:39:49] Speaker A: Just recently, what was I just did a review on something that was like, I'm so pumped about the idea of YA in middle grade stories because I felt like when I was younger, I'm only. I'm 40 next year, but I felt like it was like goosebumps. And then you got to Stephen King. Like there was no like really in between type thing. And now you have these people who tell really grotesque and scary stories, but then can also shift and write these young adult and middle grade stories. It's a phenomenal thing. It's so funny to think that Tim Seeley has written some and drawn some. Some pretty grotesque and adult things.
[00:40:24] Speaker B: It's intense. No, we get really intense to go.
[00:40:27] Speaker A: Down to this young adult thing. And this is really cool. But there's also this like, like, you know, Adam Caesar's one of the ones to me who writes some con in the cornfield, who wrote a story that's like such the borderline of young adult that that like one more thing he did in those books changes and it's 100% an adult book. But like it's, it's. But there's this middle ground that I'm just loving because like my kid's 4 and I feel like the future of his ability to read comics or books or see movies is changing because there's so much more for him. So I could potentially see him being a horror fan at such a younger age compared to what I was just. Because there's more options out there from not just people who were created. I mean, R.L. stine created young adult middle grade stuff or like, you know, young stuff.
There's authors that are make these massively horrific books, movies, whatever it is. Making these young adult in middle grade things, it's just awesome. It's such a cool thing. And you guys are part of it.
[00:41:17] Speaker B: Yeah, I just read Paul Tremblay's new one that he did. He did another. Yeah. And it's great.
So, yeah, that for us, much of what we have, I won't say much. I'll say probably half of what we have I would classify as YA middle grade. And it's because we have kids and we're telling stories to them and we're generating stories with them and we're inspired by the media that they're watching. And so it just comes out kind of naturally when you have kids. But yeah, we're able to kind of shift back and forth. We're currently doing a project with another amazing children's author, Joshua Pruitt, who did like the last kids On Earth stuff. And he does Phineas and Ferb the cartoon.
And we've had this conversation with him before because he also does like really intense. He did my storyboards for Glorious as well. He's one of those people who draws.
He's like an amazing cartoonist and animator, but also does storyboards.
And we've had this conversation with him about how it's wild to move back and forth, but honestly, when you think about what's changing between adult horror and YA horror, it's just the age of the protagonist.
[00:42:24] Speaker A: Yeah.
[00:42:25] Speaker B: So yeah, usually that's all like, okay, so they're not 26, they're 16. And we move back and forth like that because we do have, you know, a young teenager and. Yeah. So but that said, I want to see more YA horror in the film space. That's where it's still difficult is as we have tried to shop out some of our YA horror as films. It's something that's just. It's not a really explosive market, or at least it has not been. There's been a couple that they tested like Nightbooks was a really good gateway horror that they did on Netflix a couple of years ago. But there has not been a lot of what I consider to be like 10 to age 15, like gateway horror. And so it's still a really hard sell in the film market. So I'm hoping we see more of that. That.
[00:43:13] Speaker A: Well, I feel like there's a lot of the adaptation of other mediums. So hopefully with this, this, I don't say boom, but this, this increasement in. In horror stories that are directed to that age group, maybe they'll still start to see and be like, oh, maybe some of those get adopt adapted into screen. And we'll see that coming in the future. So maybe it needs to start in book or graphic novel form.
[00:43:33] Speaker B: But we love YA horror movies. We both read them like, like, like normal adult novels. I know David, a big fan of Kara Thomas, and I just finished reading one called the Bad Ones over the weekend. We both love what stalks among us was a recent one that we read.
So we both love YA horror as in book form. That's one of our favorite areas.
[00:43:55] Speaker A: It's great because it's also like one of those things like I read some pretty. I just finished Eric LaRocca's Where We're Always tender with her dad and Eric's such a visceral and very. Oh my God, he's brutal author that I like. Sometimes I just need this. And I read Shiny Happy people by Clay McCloud Chapman. And I was like, like, okay, this is great. This is a great horror story. But I'm not, like, wondering what the hell is going on, gonna happen in my room. It's. It's a great, like, you know, like I said. But again, there's that gap that we used to have. Errol Stein killed it. You know, when I was younger, I absolutely fell in love with horror reading those Goosebumps books. But then there was, like, a gap, in my opinion, for a long time, personally, then I live in Stephen King's home state. So, like, Stephen King is a huge person in our area. And so it was basically like, oh, you're done with Goosebumps. Cool. Now it's here. Here, read the stand. And I'm like, wait a second.
There's got to be something in the middle here. And I feel like we're getting that more. Which. You're right, though. Films could. Films could use some help with that, which would be great in the future. But Barstow is not one of those things if you. It's not young adult.
[00:44:51] Speaker B: No, no, not by any stress.
[00:44:53] Speaker A: Not any stretch of the imagination.
There's definitely. It's definitely one. Like I said, there's some imagery in there that was necessary and made the comic better, but some of. I don't want to see this.
You want to turn the page quickly?
No, but it's true. You need to. And I think it's phenomenal. I think it's one of those, like I said, one of those stories that if you're into horror films and you haven't dabbled in comics, I could see the connection where people might be like, oh, I can get this. I can understand this, and I can. I can go there with this, and hopefully one day we will see it on screen. I'd be happy for that. That's. That's. It's great for the success of you. But also, again, I feel like there's these people who are just. Just don't want to read comics and want to watch films. And hopefully that crosses over at some point in that sense. But, yeah, it's a great. So September 23rd, it comes out from Dark Horse in trade format. You might be able to go to your local comic book shop. Hopefully not. Right? But hopefully they've sold out of all of them. But if you happen to get it, you can go to your local comic book shop and get the individual 1, 2, and 3 and 4 issues.
[00:45:46] Speaker B: It's sold out here in Los Angeles, at least in the areas around us. But yeah, we've tried, but yeah, so. And I think that you can still, of course, course, get the, the paperbacks online.
You can get the digital prints.
[00:45:58] Speaker A: Yes, yes, you can. And the trade is. Like I said, people are doing that nowadays too, even in the. I'm a big single issue kind of person. And then I'll get the trade, you know, for specific books that I want to read over and over again. I don't want to keep on opening the bag and board, but the, the trade waiting is a huge thing. So I'm a trade waiter as well.
[00:46:17] Speaker C: Yeah, we, like, I've gotten older. I realized I don't get to the store as much as I can or in time. And so then I'm like, great, I gotta wait for the trades come out.
[00:46:25] Speaker B: Yeah, we. But we also, we're bedtime readers and I like, I want to sit down with the new trade paperback and read the whole thing like a novel. Like, I love that element. So, yeah, I tend. I mean, there's certain ones, like Deviant. I was doing issue by issue because I was so excited about that one. But like, a lot of them, I will do trade paperback weights. So I'm excited to see how it does.
[00:46:48] Speaker A: And there's different ones. To me, it's the same thing with TV shows nowadays. I feel like if you, if you say bar stove, you know, in between issues, you and your friend are reading it, you can talk about what's potentially going to happen between issues. But if you're just like the only one on an island reading this book, or you don't have that many people or your other, your partner or whatever's reading it at the same time, that's fine to me. But like this, this. If you had to be able to have the. Go to the comic book store and have this conversation about Deviant or whatever, and you want to be like, oh, I wonder what's going to happen next in this thing? That's what's cool about the month to month.
[00:47:14] Speaker B: Yeah.
[00:47:14] Speaker A: Otherwise. Yeah, I mean, I want to read the whole thing. I don't want to get to the end of the issue, be like, what the hell happens next?
[00:47:20] Speaker B: We binge watch TV shows too. It's the same thing. Like, even we've been deep into Alien Earth. We watched the first episode and then I was frustrated that I had to wait a week. So we're like saving some of the episodes, like, so that we can do like three back to back.
[00:47:34] Speaker C: Well, we forgot that we used to have to do that.
[00:47:37] Speaker B: I know.
[00:47:38] Speaker C: And now we Used to have to watch shows.
[00:47:40] Speaker B: Yeah. And now it's like, so it's almost aggravating. Like, I just, I want to be able to watch them all as I can.
[00:47:47] Speaker C: I actually kind of prefer that the old way of doing it still, because it gives you that time to like, yes. You know, take it in and not have to sit there and just binge an entire thing. You know, you can take your time with it.
[00:48:00] Speaker A: We were happy about that with Tim Seeley's revival. I was. So, you know, Aaron B. Koontz was actually. Was on the podcast talking about that too. How it's week to week. Was actually great about that because again, again, water cooler talk or what it is and discussing what's gonna happen, especially with an adaptation. Because an adaptation not only discussing what could happen next, but what are they gonna do in the comic or book or whatever it was the other medium and do in the show. Like, how are they gonna do this? So like, we haven't had the discussion of, like, are they actually gonna introduce these types of characters in this, in this thing. Are they gonna create different characters? Or you saw someone get cast, but they didn't. They said, you know, has been cast in an undisclosed role. Like, are they gonna be so and so. You're guessing that kind of stuff. When you binge it, you finish it, you go to work the next day and you're like, like, oh, I watched the first episode, went to bed. I'm like, ah, I want to talk about this. And I can't do that. So that's what's nice about this whole week to week thing. But I also understand the other side of it. We have young kids and sometimes anytime doesn't go as well. And then you're like, oh, three. Three weeks later you're like, oh, yeah, I forgot about that show. We should try to catch up on that show.
[00:48:56] Speaker B: I waited on revival and then I watched all the first four episodes while I was packing. Cause we're in the process of moving and it was like one day I. I watched all the first four episodes and then talked about it on the podcast. It's been great.
[00:49:09] Speaker A: Yeah, My wife was. My wife didn't read the comic and I had read the comic, obviously. And so with the last episode, you know, spoiler alert for anybody. When she says, don't tell dad, I was just like, oh my God, that's so good.
[00:49:21] Speaker B: It's so good.
[00:49:22] Speaker A: My wife's like, the kids are sleeping. Shut up. What's going on? I go, oh my God, they said it. They did it. And I go. The title of the episode was called Don't Tell Dad. So, like this, obviously it was going to happen, but I was just like, oh, my God, I can just picture the panel or the page in my mind. It was phenomenal.
[00:49:35] Speaker B: But yeah, the one that we really do that with is from. We've both been really into the TV show from. And it's so mysterious. And it like every episode answers questions but raises like 10 more. And that's the one where we find ourselves week to week discussing what it could be that we kind of like the waiting game in that because we get to process it.
[00:49:56] Speaker A: Yes, yes, yes, yes. And obviously, you guys maybe see things a little different than some other people too, being filmmakers and people being making these things. So you're also trying to figure out what are they going to do that I would have done or so on and so forth. I mean, I'm guessing it's a little bit different from someone who doesn't create, you know, films or TV shows like myself. But yeah, hey, we're not here to talk about that. We're here to talk about Barstow. Barstow, September 23rd, at your local bookstore or comic shop. Whatever you want to get it, you can get it online, so on and so forth. Are you guys. You guys are on Burbank? Are you guys going to do. Have you done signings? Are you going to be. Be doing signings? Are you. What's. What's going on with that?
[00:50:30] Speaker C: Yeah, we've done a couple of Comic Con.
[00:50:33] Speaker B: Yeah.
[00:50:33] Speaker A: Yep.
[00:50:34] Speaker B: We were at mid summer. We're going to be at Los Angeles Comic Con signing.
We've done a couple of shop signings around.
Yeah. So we have more coming horror conventions as well, because I'm getting ready to start shooting another film. Our normal. Normally we do a lot of conventions in the fall. It's a little less than usual because I'm gonna head up to Canada in October. But yeah, so for now, we've done a number of signings, but you can definitely find us around at some of the local Los Angeles conventions in the meantime.
[00:51:06] Speaker A: That's awesome. It's so cool. I mean, like I said, I have these feelings. These, these kind of had fun design, but having a comic book being designed is really cool. And then as comic book fans, I'm guessing that experience was pretty cool. Walking into the comic book shop for the first time and seeing comic book wrote on the shelf.
[00:51:18] Speaker B: We went to the one we had in Burbank.
[00:51:21] Speaker C: There's also. There's not a lot of things where you can actually get a physical copy of what you've done anymore. And that's great to just have that physical copy of something with your name on it.
[00:51:31] Speaker B: Yeah. That was the day that it came out. We walked into our local shop here in Burbank, House of Secrets. Because we're there all the time anyway. And it was such a next level thing being like, we're buying this and our kids were with us and we had just picked him up from school and our like like seven. He was seven at the time. He was being such an. He's like, I just want to go home and play Roblox. And being like having that reality and then seeing my comic.
[00:51:57] Speaker A: Yeah.
[00:51:57] Speaker B: Sitting on the shelf. It was just a wild thing. It was like when Glorious came out, it was sold in Walmart, which is still perplexing for me. But being able to go into Walmart and buy like a pint of strawberries, some laundry detergent and pick up a copy of my own movie, it was such a weird vibe and just wonderful at the same time.
[00:52:18] Speaker A: Yeah.
[00:52:19] Speaker C: I don't know if all the Walmart stopped. The big bin.
[00:52:22] Speaker A: Yeah.
[00:52:22] Speaker C: Of discount DVDs. I'm still waiting to dig through one of those and find something.
[00:52:26] Speaker B: We're like waiting to find creatures.
[00:52:29] Speaker C: We're like creatures at the bottom of that bin. But I don't know if they do that anymore.
[00:52:32] Speaker B: Yeah. We haven't seen it.
We kept saying, like, at some point it's gonna be in that bin. And we're like. And that. That's kind of a cool thing that we're like. We're in the discount bin at Walmart for one of our. It's. It's like a weird like, holy. It's real moment.
[00:52:46] Speaker A: Yeah. But that's also like, it comes with a horror genre I think too. I think that like if you. If you made a big budget film scene in a discount bin is not a good thing because you're like, okay, this didn't do well enough or. Or it's been long enough since this movie came out. But I feel like horror is one of those ones where it's like, yeah, this is cool. This is where people find those.
[00:53:02] Speaker B: Like, it's where you find the.
[00:53:04] Speaker A: Yeah, yeah, yeah. That's where you find that stuff. Yeah. I don't know. I don't.
Someone made fun of me. The idea. I'm like, I don't go into these stores that often anymore. I do online ordering pickup and like drive up and like back my car up and they put it in the back of the car. So I don't. We went into Walmart the other day to grab something, and I was like, whoa, this is what it's like in here.
[00:53:20] Speaker B: No, I. We were. We had that conversation because we've been moving. We had to go into Target for something, and it was very much like, if we did not need it tonight, we would not leave our house.
We do Amazon. Like, we are very. You know, it's. That's just where everything comes from now. And so, yeah, the idea of actually going into a store to buy something kind of weird. And we hadn't been to Target in, like, six months, and then suddenly it was like, whoa.
[00:53:45] Speaker A: Oh, we gotta go in here. Yeah, my kids are. All. My kids are always like, are we going inside? And then we're like, yeah. And they're like, oh, gosh. Really? I'm like, yeah, but. Because if you don't go inside, I don't have to buy you anything. So if we go inside, I have to buy you something.
[00:53:58] Speaker B: As soon as we walked in Target, it was, can I get a toy? And I don't go through that. If I'm like, I'm just gonna get a garden hose online. It'll be here tomorrow.
[00:54:06] Speaker A: Exactly.
[00:54:07] Speaker B: But otherwise, it's like, I have to go look at the Minecraft toys for 20 minutes while he picks something out. And, yeah, it's a whole thing.
[00:54:14] Speaker A: Well, all the creatures during Elevator Game and Glorious are all available on Amazon. So if you want to order those, you can get all those on Amazon.
[00:54:21] Speaker B: On physical media, which is physical media.
[00:54:23] Speaker A: Because no one can take this from me unless they break it in.
And that's. That's another level of selling. Find it in the discount bin. If someone breaks in my house and steals these movies, is that another level of, like, that's what they stole?
[00:54:32] Speaker B: It's real. It's real.
[00:54:34] Speaker A: I got. I got a Scream VHS behind me somewhere. They're not stealing that. They're gonna steal the. The Elevator game on dvd.
[00:54:40] Speaker B: No, I was having those questions because we have. Because since we're moving everything now, like, I put all of our boxes of everything that we own into this, like, storage unit at the back of the house. And I was like, it feels less secure than the house itself. What if somebody breaks in and I'm like. And they're gonna open up and be like, what is all this, like, Stephen King and Clive Barker crap? And where I'm looking at it, it's like, those are first editions. Somebody else is gonna be like, God damn, they have nothing.
[00:55:06] Speaker A: It's nothing in here. There's no copper piping or anything.
[00:55:09] Speaker B: I'm like, no, that DVD has been out of print for 20 years. It's worth a fortune to me.
[00:55:15] Speaker A: Santa Pause 2 here, signed by Philip Fercasi, who wrote the song, one of the songs in it, who's also an author. And so that. That's. That to me, means so much to me because it's signed by him, but, like, no one gives a crap.
More people look at me go, there's a Santa Paul's one. I'm like, yep, that's. That's. That's. That's it. Yeah. But no. Yeah. So thank you so much for taking time to come out and chat and talk and so on. Stuff and doing things. Kids, all that stuff. I know the feeling. I just moved and I have kids, so I understand the feeling completely.
[00:55:42] Speaker B: It's always like that. That's life.
[00:55:44] Speaker A: Yes, it is, and I really appreciate it.
September 23rd, Barstow comes out.
Yeah, I appreciate everything. I will have you on again sometime in the future. We'll talk movies, you know, comics, whatever comes up. But, you know, we'll be sure to have you on.
[00:55:58] Speaker B: Thank you so much, Justin. Have a good one.
