Dallas Videofest 28 Part 1

Check two. The following is a sooner or gator production. No inch, no inch, no inch. Good
morning, record scratch, whistling, all that good stuff. And you're probably saying
yourself, Rob, what's up? There's like no, there's no opening. Well, somebody, and I don't
want to mention any names, but his initials are me forgot the iPod at home. So we're just
going to go right into it. It is seven o'clock on the East Coast. It is four o'clock on the West
Coast. It is the 16th of October in the year of our Lord 2015. It is season six episode 12.
If I do the math correctly, chronologically number 318 times. You have heard me say the clubhouse
is live and on the air, and you're probably saying to yourself, wait a minute Rob, it's Friday.
What's going on here? Well, it is Friday, but it is also Dallas Video Fest 28. So why wouldn't
we be doing a live show live at the Angelica Film Center in Mockingbird Station in Dallas?
Dallas Video Fest 28 is in full swing. Now that being said, I am not the only person sitting
at this table. To my right is my co-host, and a man who always addresses me, but that's just
the way he rolls. He is chatting. Welcome, certainly. It is indeed. But a good day. Yes, it has.
Been a lot of stuff done today. We are live at the Angelica Mockingbird in 75 combined, hang
out with us, see some good films also across from him is a man who's got his running shoes
on tonight. He is the official fact checker of our show. You may know him as fun, done,
go, but his mama name of Don Ford, I'm going to call him Don Ford. Welcome, sir. You're on
the wrong one. Now we're good. We're bad. Math is bad for. We are bad. One plus one is two.
Third year in a row. And we're going to be here twice tonight, and then 48 hours from now,
we're going to be right back here, getting ready for another night. So that being said, you know,
Don's going to be running around bringing us some quality guests, and he's already ahead of the
curve. So sir, take it away. We are honored to be joined by a director of a film that's a
work in progress. We got to absolutely work in progress called brainwashing my dad brainwashing
of my reader teacher, dude. Okay. The brainwashing of my dad. I apologize. I saw the thing today.
It was incredible. And I'll be able to add a little input on this one. This one,
Instagram for usually, you're going to hang out from it. We are going to Jennifer is here. She's
here to talk about her new film that's going to be coming out. Welcome, Jennifer. Welcome, my friend.
Jen, I apologize. Jen Senko, did I get that right? Speak right into that thing,
so everybody can hear you. Okay. And that way you can hear yourself as well. Can I hear me?
Yeah, I can hear you can hear us. You can hear me. Yeah, you're coming through live and clear for
us. Welcome to the show. Big night as you're going to be you're going to be hanging out here at
Dallas Video Fest. Well, let's just start with the basics. Yeah. Tell us about your film.
Okay. It's called the brainwashing of my dad. Don said. Yeah, Don. That's Don. Don and Jen.
I'm so sorry. And it is about how my dad changed from a non-political Kennedy Democrat.
We grew up in the latter part of the 50s and 60s. And how once my parents moved to a place
where he had a long commute to work used to ride in a car pool with a bunch of guys and they'd
all talk and stuff. He turned to talk radio. And at that time there was somebody on a
called Bob Grant who was openly racist, sexist. Okay. Okay. Fair enough. Talk right into that
thing so you can hear me myself. Oh, okay. Oh, there you go. And and gradually he began to change.
And over some time he became a man that nobody recognized. He became someone who was angry.
Someone who was evangelical in a way about his new beliefs. I don't mean evangelical in the
religious sense. I just mean he went from Bob Grant to Rush Limbaugh to Fox News to all of the
emails, you know, joined everything from, you know, the NRA to whatever, you know, anti-immigrant,
everything like the full gamut of right-wing stuff. He just bought lock, stock, and barrel and began
trying to convert the whole family, really. And anybody actually he walked into.
He just tried to start conversations with people and would just talk about, you know, his politics.
And what fascinates me about the subject of your film as I was reading about it, we've been
reading about a lot leading up to today is it's not just one thing. You know, a lot of people will
say, well, we can just point it to the more options they have in TV or whatever. What's your going
through? What your dad is going through was a myriad of things. You said he went from talk radio
to television to reading things. And it's just this conglomeration. Do you find it more because of
the proliferation for lack of a better word of the way information's out there?
Or is it just more that he's noticing things more now than he did before?
No, well, first of all, it's the type of information that he got tuned into. And, you know,
driving alone in a car with someone for a very long time, there's an intimacy there.
Right. And they almost become like your friend. And it really changed his thinking
about everything. And so once his thinking started to change, then he started to seek out
anything that was in line with that. And he got obsessed with it. I'm not sure if I'm answering
your question. No, you are. You actually are. It's because one of the things that the arguments
that have been made are it's because of there's so much out there to absorb and people kind of
glom on to one thing. But I think with if what I'm hearing is correct, he just kind of got zero
into this one thing. He went from being and he talked about he used to carpool with a bunch of
people and you have those carpool conversations to going to just driving by himself and
has still wanting that interaction. And what he found that interaction in let him down this road.
I mean, I have a 40 minute or 40 minute commute each way to more work myself. And I've found myself
listening to oddly enough podcasts or things like that. And you're right. It's that intimacy that
you have because there's nobody else around. And I guess it just kind of grew from there,
grew from there for him. Yeah, it did. But well, I mean, also there was there is something about
this type of media itself. It's it taps into certain things that maybe other media doesn't tap
into as well. Emotion. Oh, absolutely. And anger. And you know, my dad eventually retired
and didn't have much of a life. And then he would for three hours a day, just sit and get all
pissed off and you know, love getting pissed off. Listening to rush limbaugh. So, you know,
there's two things that my movie talks about. One is the history of right when media. Okay.
And I don't even call it conservative anymore because I don't think it's conservative. I think
it's radical. I'm not going to argue with you on that point because when you talk about, you know,
we don't deal a lot with politics on this show because we like to kind of stay right in the
middle there. But you're right things things like Fox News are getting they're getting a little
bit more in your face and a little bit more aggressive. And people like rush limbaugh and things
of that nature. Yeah. One thing I want to add and then I'm going to get rolling on this. Okay.
Fair enough. Fair enough. First off, I was able to see this incredible film. I was really impressed
by it. But it really shows those so many different stages of brainwashing and this type of media
really shows. I mean, it's showing like she's saying in anger, the one on one, they do not listen
to any other type of media. They shut everything out and they will not do conversations with people.
It's like they're just LinkedIn. And I think that maybe where she's getting ready to talk about
where she says there's two different storylines here with the history of it. Yeah. But I'm
I'm going to get rolling in just one thing. But just say I love the production. It was an incredible
show and to see so many people Skype in where this is happening to their family member too was just
amazing. And I cannot say how much I like this production and anybody out there, if you get a
chance to see this thing when it's a finished product product. Absolutely. There's still working on
it. Just check it out. And you did an incredible job, Jen. And I cannot think you enough for that.
So I'm going to get rolling guys. Go do your brother. Go do you? Thank you, Don. I guess that's
another thing that I. He's a really good at segue and isn't he? He'll just set you up.
That's great. Yeah. Once I decided, once I had the confidence that I knew for years and years
that I wanted to make this documentary, but I knew it would be really a lot to take on because
it's all encompassing. It's like a dual story, a hybrid. And what is the other part because you
talk about the history of that? And what was the second part? Well, the personal story. Okay,
I just want to make sure that we get it both out there. That's right. That's right. And in talking
about my dad's personal story, I also found so many others because they did a Kickstarter campaign.
Okay. And I had over 900 people, you know, sign, sign on. And I had, I started getting people
reaching out to me saying, this happened to me, this happened to my mom, this happened to my
uncle, my friend, my, you know, we, they no longer, we can't talk anymore. There's nothing we can
talk about. We can't even talk about the weather because it's like, oh, you believe in global warming.
And we, as, as we get older too, you know, we deal with when we were like, when I was a kid,
it was very, very difficult with family gatherings to even get awarded an eduizing conversation.
Well, now that I'm at that age where I'm having adult conversations, my mother is getting to
that point where it's, it's getting hard to talk to her about certain things because she gets
that kind of riled up over things. When you were, decided you were going to do this documentary.
How hard was it for you to get your dad to sign on to say, yeah, I'm cool with you filming me
about this whole thing? Well, he didn't, he didn't know at first what it was about. I mean, he was
used to me being around with a camera and, and shooting. And, you know, I would, I would talk to him
and he just, um, would, would love talking about it. And mostly I started with, with my mom,
interviewing my mom a lot. Um, and he, he just, he, he, he's very proud of what I do. My last film,
called Vanishing City was very successful and he was proud of that and he, um, I don't know,
he didn't say anything, you know, he just was like, oh, there you are with that camera. We have,
I'm eating now, so go away. You know, another time he'd ham it up, he loved the attention and,
you know, he knows, he knows what it's about and she's actually seen this work in progress.
How hard is it for you? Especially, I mean, a director is always somebody who's going to keep,
you know, it's never quite what they want it to be. But now that you have his personal connection,
is it how hard is it for you to, to watch back your daily as you're doing this? Because you're still
working on it. So how hard is it for you to go back and watch these things? Or are you to the point
now where you're like, okay, I know what's coming. Does it, does it still affect you as bad as it does
when it happens? Or what's it like through the director's eyes and through a daughter's eyes?
No, um, this doing this film has been a catharsis for me and actually for my family. Um,
it's, I feel like I've, I've lived my whole life in order to make this movie
Oh wow. And, um, like, I think I don't want to give too much away, but it's...
Oh, absolutely. We try to see spoiler free on this show, so.
Yeah, um, you know, it, it, it's sort of transformed our family. But, um, so,
I mean, a lot of what was really difficult was, um, the history and the research and, uh,
getting archival footage, um, you know, because there's a lot of different things we talk about,
like, the, the fairness doctrine and, um, the, when Roger Ailes first came on to the scene,
the Roger Ailes memo, um, and, uh, you know, so there was a lot of research and that stuff was,
was difficult. Um, it's just this really time consuming. Um, I worked every day. I get, you
know, like 12, 14 hours a day. I even got pneumonia in the winter. Oh jeez, I've been there.
That's not fun at all. When I was in college, I did. Yeah. And it was, that was the worst week I've
spent. I probably one of my top five worst weeks ever in my life that was, that week was the
worst month of your life. Yeah. Oh, yeah. No, I, I had it for, yeah, it knocked me down. It knocked me
down. It lasts like for like three months or something. Yeah, well, the worst of it for me.
Why was 18? So my metabolism was a little bit easier to go with, but yeah, but yeah, I mean,
it's, it's, yeah, it'll knock you down hard. I was so surprised I had it. I felt like telling
people in the street, guess what? I have pneumonia. Is that weird? So, um, I guess, is there a
runtime you're shooting for? Um, and an hour and a half about the standard documentary length.
Yeah. Yeah. I mean, we're, we're cutting it back. We had to cut it back because it really was
long. It couldn't even be longer. If first, when we first edited, it was three hours. Oh wow.
You know, it was like, Oh my god, what do we cut? What do we cut? You know, and you cut it down so
that it's digestible. What is the, what is the adventure? Do you have an eventual plan for where
you want it to go and, and the direction you want the distribution to go in or you're just kind
of taking it as it comes? Well, we're really hoping that we can get into Sundance to be honest.
I don't know if that's a good thing to say. Oh, no, I mean, you got to have goals. You have a
plan. Yeah. Of course, that, that, that's what we're aiming for. We like to get into Sundance.
I don't know about you. I mean, I think, am I alone in the start at all?
You guys should be in Sundance. That would be so awesome. Yeah, we check one off the bucket list
if we can get to do the show there. Yeah. And so, you know, if that happens, then it just,
it busts out and, and we want to have a premiere on LA in LA and New York and do tons of film
festivals. And it really get it seen because that's my goal is to get it seen by as many people
as possible because I feel we need to have this conversation as a nation. And can I safely assume
that tonight, after you doing what you're doing, there will be a Q&A so people can ask you
live questions? Yes, indeed. And I'll, yeah, I'll be live too. And the only way they're going to do
that is to come down to the Angelica tonight, seven o'clock is when the thing kicks off if I'm not
criticized. Right. There's a little short beforehand, which is absolutely charming. It's called
Merry Christmas. And it's by Matthew Modine's son, Bowman Modine. Oh, really? Yeah. And it's just great.
And you kind of need that cheery kick off before you see him. You kind of get,
sit you up a little bit. Okay. You lost my page too. So, Jen, tonight, we're gonna,
we're gonna let you go get, kind of get yourself set up a little bit. This, the film is called
the brainwashing of my dad. I haven't fascinated by this since I first read about it. I'm looking
forward to seeing it at some point. If we don't get to, if we don't get to you tonight, I'm going to
get to you somehow. Go check it out. Please. What I lost? No, there it is. I can't even read today.
It's one of those days. We're gonna go let you have somebody to eat and get settled. Jen Senko.
Thank you so much for joining us. Thank you guys. And all the best to you. We're looking forward to
seeing it. Oh, thank you so much. It's great being here. You're a lot of fun. Oh, thank you so much.
You are listening to the Clubhouse podcast. Our normal show Sunday nights at seven Easter and four
Pacific. We will be on Sunday this week. It's gonna be a little bit early. Just keep an eye on our
Facebook page. Look up the Clubhouse podcast on Facebook with the word podcast on there or
something completely different. Follow us on Twitter at Clubhouse show. We're gonna be here back
live on Sunday afternoon as Dallas video fest 28 rolls on. And I'm barely gonna get a chance to
catch my breath because we've got two more guests joining us right now as as Dom puts it a double
interview. We got a double shot. It's like inside the Clubhouse studio.
Join us right now. Greg Hughes and Brett Hartz. Gentlemen, good afternoon to you.
Is it still afternoon? Is it an official evening? It is. Did you guys want to spray you a beer?
There's a beer in my hands. Sometimes I wonder. Is it miller time yet?
Oh, it's always the miller time somewhere. Yeah, it's speaking to us. You saw that story this week,
didn't you? The them and butter burging? I mean, I noticed that you mentioned that the other day.
That's not a holy alliance. But it's but in miller or merging, the Cubs have a shot at the world
series. I think those are two biblical signs of Armageddon. I'm not sure. I may have to double
check my facts on that. Was that a film reference? That's all I know. Dogs and cats living together.
But you guys are here for a very special reason and we're gonna let you take it from here.
Oh, fantastic. Hi, I'm Brett Hartz and I'm Greg Hughes and we're just pulled in the town and we're
glad to be here. Yes, welcome to our fine burger. You've kind of bit of a drive. I'm sure we coming
from Austin, I'm assuming. Yeah, you know, and the thing is, it seems like it would be like,
like that, but it's not. Yeah, we were actually alive around the world and for people that don't
understand driving from Austin to Dallas, you look out of the map and you're like,
just a straight shot. I'll contraire him on fray. Exactly. He's like, I was dreading it. I had to go
down through to Gatesville outside of Waco a lot and just that drive and you're, I'm only what,
probably 45 minutes out from Austin at that point. That's the worst part. Yeah, that's when you
hit all the construction, but you guys are here with somebody who's upstairs right now. Go ahead
and tell everybody about it. Yeah, I'm the director of Anacle with Harry Knowles. Greg is one of our
awesome producers. We have about a half dozen awesome producers on the show. And I hear my
dipologist. That's all right. I'm used to, by the way, be able to say cut. So this is really,
weird. Really weird. Yeah, we don't edit it. We very rarely edit it if ever. I dread that. But
anyways, so yeah, we have a show called Anacle Harry Knowles and we're very honored to be here.
Greg and I started our career in Dallas and it's kind of like a 360 full circle.
It's very much a homecoming homecoming. And you picked the right time of year to do it.
Yes, you did. Because it's going to, it's going to get cool tomorrow. It's going to be real nice.
So let me make sure are we actually, are we doing the show tonight? Are we showing the show?
Tomorrow night at eight o'clock, eight o'clock. And we want to come in and start just getting a ball.
I know Harry got here last night. He'll be here for four days. And I think we're going to be
here. Actually, he's right outside. We're coming by. So right now, there he is. He is actually parked
right next to us in the garage. We saw him. We're in the equipment. And there's people out there
that are like, wait a minute, did I hear you right? Yes, you did hear us right. Ain't it cool with
Harry Knowles? This is the guy who, if he doesn't do what he does, we might not be doing what we're doing.
That's very cool. You know, and this is what probably 20 years ago. I'm going to let him speak
for his history on it. In 2011, I left LA lost Angelus, as I call it. I came back to where I love
which is Texas. And I got a call said, do you want to go meet up with a guy named Harry Knowles?
I said, absolutely. Greg and I produced a movie called Bone Dry years before and Harry wanted
to interview me. Okay. Finally, I've always been interested in him. I always thought he was a
fascinating guy. And when I went down, I did not realize how much he and I, it's the first time I
heard the word geek in a positive context. Exactly. In the first time I've been hearing that since I was six.
Should I be offended? Not at all. But that's why I discovered the whole film geek thing.
And he and I were on the same page. And he said the reason why I got the job was directing the show
is I brought up Marcel DeGotta. Greg, do you know who that is? I do not. I'm a film geek there.
There you go. That's right. Which he actually created. The armature that was in King Kong.
Oh, okay. Very nice. Yes. And the weird thing is this one he's describing the show.
The guys at Nerds had no idea. You know, you talk about a webisode show. And I was
I was already in the process of creating some. I was up in Oklahoma. I wanted to be near my daughter.
And I was getting ready to pitch YouTube when they contacted me. I'm sorry, I'm spitting it.
I took it here. I got it on my on the level. Sure good. But anyway, so yeah, I went down there and
we started talking about this show. And I was like, man, this this kind of sounds like a like a
kind of like grandma is Joe Dante kind of like, you know, amazing stories kind of thing. And we
were on the same page. Walked out. I mean, I think you guys at Nerds had no idea what we're
getting ready to do. Because it's not green screen. It's not, you know, some B-roll. It's going to be,
you know, all magical. Oh, it's very immersive. We built the set. There's a whole Lord
in it cool about a basement, which we all know in Texas. The do not exist. No, no. And I'm from
Florida. And I love it. People pitch basins. I like that. Exactly. We saw something recently.
We was at where it was pitched in Florida. And I'm like, it's in the basement.
Paper towels. Paper towels. Yes, you are correct.
But anyway, so yeah, we we we met in Austin, which is the place I always wanted to retire.
And by the time we're done, we're like, we're going to make this show. Nobody at Nerds had any idea
what we're going to do. And the evolution from being a webisode, 30 episodes on YouTube
to now being on PBS in 73 stations. Wow. It's surreal. We have more money when we're doing it on
YouTube. And that brings Greg. Greg basically saved my, can I say cuss words?
We can let you go. My rear. My rear. My ass. We're trying to keep the F. My F bombs out of it if we can.
Well, then Harry, we'll have to. Anyways, so yeah, he saved my ass. We don't have a dump button.
But yeah, Greg, take it from here. So I brought you into the project too.
Yeah, so I helped during the first season when it was a webisode with some extra gear and stuff.
My production company donated to the show and helped everybody. Get the show done the first
season. And then when we actually did this this new season, that's the first broadcast season.
Again, I was there for equipment support, but then in the post, I really helped get the show
ready for broadcast. So my background is save my ass again. My background is in commercial production.
And so we ran all the shows through my post facility and delivered them to PBS and got them ready
to take it. Well, let's back up just a little bit because I think that we may be missing the
framework that this is in for people that do know him. They know what he does. They know about the
website. The TV shows a little bit different. So let's kind of give our listeners a background of
what a cool thing knows actually is. It's it's a it's Peewee's Playhouse for film gigs. This is
this is true. It's an actress. You now have my attention. It's very much like like you just said,
Peewee's Playhouse meets inside the actor studio. So it's it's academic because it's Harry.
Absolutely. And Harry and I both are always in the same page. So like we reference a film,
but what we try to do is take, you know, like whatever the theme is, we try to immerse the audience
in it. So if we have Wes Craven, which we were very fortunate to work with, you got one of his
last interviews last very nice. The weird thing is is before the bad news, the leap before I was
posting that, he was my favorite interview. I had such a connection to him, you know. He seems like
one of those guys that he'll just sit down with you and he'll just you just let it go. And at some
point, you almost forget, oh, wait a minute, I'm interviewing this guy. The man was amazingly intelligent.
He was like a scholar. It's like, you know, not since Richard Franklin, who was my mentor,
directed Psycho 2, and when I was 15, took me on his wing, had I sat with somebody and like,
oh my God, this guy is such a genius, such a brilliant man. But forgotten more than will ever know
collectively, probably, brother and wife. Yes. And we just, we just, first off, one of our underwriters,
our exclusive sponsor is IMAX, which you go from a YouTube show. This has been a Cinderella story
to IMAX, helping us get it out to 73 so far, Marty so far. Oh my God. It's unbelievable. And
they asked for, do you have any more footage? We have a lot of footage with a lot of interviews,
but we went to Craven because he was one of our favorites. Wow. Yeah, because I've always been in
awe of the guy. Speaking of a man whose ears must be burning, joining us right now is the namesake
of said show. Harry knows, welcome, sir. Welcome to the show. Thank you. Thank you very much.
I feel like we've hung out this year twice already, because at the Dallas International Film Festival,
we got a chance to see Raiders, which you were a big part of. And then there was something,
what was the other one we saw this year that he was involved with? Oh, you would ask me that.
I know. My brain's so fried. Was, wasn't it, was it the Atari, the Atari game over?
Atari game over. Okay, that's it. I caught that on Netflix a few months ago.
It's, it's so weird because I do interviews for all these like little niche documentaries and films.
And I completely forget that I was ever a part of them. It just all kind of blends after a while.
There's some like film critic documentary that's online. I mean, that's on Netflix now. And for
the life, man, I can't remember the title, but it was one of those where they came, they interviewed me.
I had fun with it. They, they were in my dad's house and it was like 12 years ago,
and then like six years later, they say, hey, you're in this documentary about film criticism.
And I'm just like, what are you talking about? And like still today, I get all these people
calling up. You're the most passionate, though, critic I've ever met in my entire life.
Yeah, and it's just sort of amazing. But we like to say that I was able to see what
they're, he's here for. And it was incredible. I love how, how you add your dad in everything.
You know, but he got, I got to say this one thing now. I'll get running.
He got one of the final interviews with Westcrate. We were just actually just talking about that
just now, actually. Incredible. Yeah, it was on the hand of weight. Thanks, Tom. Thanks a lot.
Yeah, it was one of those things where we just had to tape some promos for iMacs.
And it's the first time that I've ever talked to a dead man as though he were alive.
And it was such a bizarre process because like, I have an earbud in one ear hearing the voice
of Westcraven. Oh, dear. And I'm supposed to interact non-emotional. I'm like, joyful. You're alive.
You're in my magic globe. And not only is it a magic globe, but it's a matamlyota magic globe.
And matamlyota is the, which in the globe from honey, which I was just there. And there's room
for one more. And I'm talking to Westcraven, who's dead in the matamlyota.
I think about that when I was editing that. I was looking at it a couple days ago. I was like,
all people, Westcraven, actually appreciate and respect and enjoy it. He had seen the show
right before that. And he raved about it. So it's like, so you said the first season was online
and the second season. And then Harry and I with with a handful of wonderful supporters in our
Kickstarter supporters, we raised the funds to start another season. When we first started,
we thought it was going to be on YouTube and then it went to PBS. PBS approached us and when they
did that. Yeah, about halfway through the kickstarter. We had that 30 days that you have to do a
kickstarter. Right. Right. About day 16. We got approached by a friend of mine who is like the
the showrunner for Austin City limits on PBS. Could do a lot worse. Well, I party with this show.
What? I've seen this man so drunk. He sold himself. Right. And that was 30 minutes after I
had sold myself. So like, we are brothers of soul. There was funding. I like to say we're soul
brothers. But it doesn't mean what everybody else thinks. So like he approached me and says,
you know, Harry, I, I, I had a couple hot balls next door at Twin Peaks before coming over. So
but we were saying earlier that, I mean, for people that don't know who you are, for the nine
people on the planet that don't know who you are, like if you didn't do what you did,
we're probably not doing what we're doing right now. So first of all, I want to say thank you.
You know, but how long did that whole thing start? Well, I'm in the 19th year of in it. Cool.
So I was 20 at first. I was close. Yeah. So I started, I mean, when I started, I was the very first
internet reporter ever allowed on any set ever. And we were talking about that earlier. We thought
that was it. And the first time I did Comic Con as a guest, there was an ambush where all these
other sight guys were all about to like sink me because I was apparently blocking everybody
from getting online, like being accessed by the studios. And the studios felt there was only one
person online who mattered. And that was Harry knows because I was the guy who was in all the headlines
and doing all that. And I was actually saying, look, you people don't understand. I said, there's
going to come a point where traditional media is going to cease to be the power source. Exactly.
And all of a sudden, it's going to be the rest of us. This is the democratization of media as we know
it in the world. And I said, and you don't get on board, you're going to be left at the train station.
And they're going to say what they're going to say. And you have no control whatsoever what these
what it is they're talking about. You need to get on board, engage and bring the internet into
this because this is how the entire world is going to. And now they're like opening movies where
they're making like two billion dollars. That's never happened in the entire history of cinema.
I agree. Because the internet tells people to go see this stuff.
Doesn't this doesn't this remind you of like a comment that was made when we talked to to landus
during we got he crashed our podcast at the Dallas International Film Festival. While we're talking
to Lord Miller from the Lego movie. And he didn't know what like land is going to wrap his head
around what we were doing. They had to explain to him. No, this is new media. This is where everything
is going now. Now the first time I met John Landis was he was giving a talk at the University of
Texas. And University of Texas contacted me because they were like, Hey, Harry, do you have any of
John Landis's movie posters? And I said, I have them all. And they shorter lists of the ones I
don't have and that would be zero. There are none. There are none, I'm sure. I even had Beverly Hills
cop three. Oh, I'm sorry. No, I have it. The one where he's standing in front of the roller coaster.
Yes. I my father raised me to be a considerate of the entire history of cinema.
Agreed. Like when I was introduced to a director, it was with his first film. And we went all the
way through to his most recent film. Okay. So when I saw John Ford, I started at the beginning
in the silence. And I went all the way through to his last film. And dad felt that's the only way
you can ever truly understand the context of a director's career is to begin and get to the end
and see what that transition is a filmmaker was. You see the evolution of the film. Absolutely.
Instead of just going and and popping open some film history book that says, you know, you should
watch. You saw liberty balance, uh, stage coach and searchers. And it's like, well, what about the
John Wayne trilogy of the Calvary officers? You know, I like you got to go into those films. And,
you know, what about the informer with Victor McLaughlin? It's friggin genius, you know, like, I
mean, for me, it's a completely nobody I've ever met was ever raised like me like in film. Like
dad was crazy, you know, but but he was being taught like, I mean, he had, he went to school
every day for an entire semester where Howard Hawks taught the class. Oh my god.
Whoa, whoa, whoa. Drop them. I will get over. You don't have to ask my dad. Every single day,
every single day, he would show a film. And then the next day would be an entire lecture upon that
film. And he went through his entire career and they showed everything in 35 millimeter because
video didn't even exist. Yeah, because he's old. And, you know, and that's a beautiful thing.
We're catching up brother, you ain't lying. And then the other director that took him through
his entire career, who was a great writer, blacklisted. The whole thing was Edward Demetrick,
who is one of the great film noir directors of all time. Yeah, I mean, he wrote a high new,
you know, and he was like, this is this is the man, you know, and he taught dad and then dad
in turn taught me. And so that's why he had such a full understanding of alter theory,
but also writers because Edward Demetrick was primarily a writer because he couldn't direct
his happy blacklisted. Right. So yeah, now I just had a unique upbringing. Both my parents were
film majors went to University of Texas. My mother was into them and in cinema. So she worshiped
like Marlena Dietrich and Ida Lupino, who was the first like really robust great female director.
And it's really a shame that all the feminists that are talking film these days never even bring
up Ida Lupino because she directed something like 53 some odd films and come on man,
where's her box set? Yeah, like, I mean, yeah, we were just actually at a local establishment
whose initials are movie trading company on the way here. And we just like to go through there
and just look and be like, whoa, who was it? It's called the movie movie trading company and it's
somewhere out in Greenville because I discovered on my map function on my phone on the way still
right here that there was a movie company. We got really excited to have vintage movie posters.
Oh, yeah, yeah, no, they're so nice to live right by there and go there every now they've
moved to a bigger facility like they have their own building. Oh, I gotta go by there. Yeah,
you probably saw what is in the little strip mall. Yeah, but I moved a little bit further south. They're
off of 35. Oh, no, there's a bunch of them now. Oh, remember when? Oh, okay. Oh, remember when
Oh, no, remember when's a real. Yeah, that was a real then it. Is it still around? I think they
may have moved somewhere like a dollar. Harry, we have a history of coming to dollars, right?
Start here. It's kind of surreal to me because I have a whole life before. My life has become
in the basement with Harry's magical basement for the last. Yeah, and let's talk more about the show
tomorrow night, right? I'm like here at the Angelica. Doug from up. We've done a whole podcast based
on that. Are you kidding me? We've got five and a half years on that alone. I tell you what you
got to do is you got to have somebody who has a bunch of like flashcards that you don't know what
are. They're off to the side of like faces and that way you look over and it's got like. It's like
Marlon Brando. It's Jess Berger. Yeah. So tomorrow night here at the Angelica, how many episodes
are we going to be able to see? Okay. Are they the first two of this season? No. Okay. One's
bow Willemann. I don't know what the other one is. Mr. Craven. Oh, really? Oh, God.
So are these are these airing now on TV? So Bart watched all our episodes. Let me try to figure out
what were the best. Bart Weiss, is he not the best? He's not really huge fans of him. So Harry and I,
the second season was the first season was a complete joy. The second season when we went into it
thing, it was going to be an internet thing. That was going to be like six months commitment and we
loved working together. We loved our team. It was going to be so simple. And then when you elevate
to broadcast, there's such a defining line. It becomes a completely different thing. You've
never done a natural half hour television show before. No, I, you know, I've done features. I've
done commercials and it wasn't so much that we had enough content, but we had we had PBS giving us
their their guidance. And it's it's one of, you know, Cal are you as amazing. So we listened to
their advice. We didn't do everything you said. You know, one of the words that they wouldn't let
me say on PBS. It's not a dirty word. Okay. I've already said it is. But it's frigging, right?
Well, it's because it did. But it stayed in because they love us. I just argued it's like
it's all over television. People, I mean, not, I don't, people don't use it the way I use it.
You know, right? And I use it as a substitution for the other F-R-I-N-G word. You know, like,
you know, unless you're a glycoflan and you say, uh, what is the fracking, fracking? Yeah, yeah,
I'm not that show. I'm trying to get him on board. He's watched the miniseries. Yes. Oh, he's
watched the miniseries. He hasn't got into the series. God, yes. You know, that was the phone call
I used to have. Whenever we'd be shooting, it would be the music. It would be six. It'd be her music.
Well, well, for me, there's only one ball start, like, and that's bum, but the dumb, but the dumb,
right there with you. I've got that. I've got the DVD. I've got the DVD set that's got the
silent head on the front of it. Hey, look, if you don't have a viper that shoots the missile
out of the front, I don't anymore. I did. And I don't. I hate that lame kid somewhere in the
world who killed himself by shooting a missile down his throat and choking. And I said, my
rubber fit was late because that was sorry for the Darwinism at work. I don't hate him, but I
did have a delay in my mail. Okay, so we're getting two episodes tomorrow night. Are they currently
airing on PBS? They are currently airing in 73. Okay. Um, wow. Up to 73 now. I know I had
how many states now in over, I think it's 50. I think it's 50. It's great. And we can actually
give my ignorance six weeks ago is our local RDS. Yes, yes, yes, yes, it is. So get your
channel 13. Yes, they are showing it right now. Indeed. Well, I believe they're beginning to
show it in, I think November is when they. Okay. They started. I know they were all the list. I know
that. We are literally what? New York to LA from Hawaii to Alaska. We started out in Austin.
I moved back from LA to be closer to my daughter. Ended up in Austin. We are now six weeks later
once I max came in. This is amazing. This show is not shot in IMAX. My favorite thing is there
are tourists drunk off their butts on rum and the Virgin Islands watching my show. You know,
I mean, my thing is is I, I mean, you would not believe the Ned baby squeal he made when I said
that we were going to PBS because he was like, we don't have, we didn't raise enough money for
that, right? Like, like, like, Brett here, Brett here, unfortunately, has to deal with the reality
of the fantasy that is Harry knows. Okay. The fine line has to be walked. No, no, no, no, no,
I'm in the same world because when you're raising a hundred grand to do six YouTube episodes,
that's amazing. Right. When you're doing six PBS episodes, and by the way, we delivered seven.
Okay. We promised six. We delivered seven. And they're all at a visual and production quality
that exceeds a lot of fellow PBS broadcasting. Like, like, people, you know, when Brett and I first
got together, and I told him I wanted it to look like the basement and Grimlands. I wanted that
volumetric lighting that felt like ambulance. Okay. All right. Absolutely. Because I felt that
somewhere deep inside of every film geek, no matter what your age is, is a basic love for the
way Amblin films in the 80s looked. Oh, yes. They felt like a visual cuddle.
Yes, they did. It was just like this, like, tell me more. And when you watch the show,
amazing stories, right? It had that entire lighting package for the entire two seasons of that show.
Everything felt like you were in Ellie. It's close. It's a real budget. Their budget, by the way,
was 10 times what the twides on head and 80s. Yeah. Yeah. Yeah. It showed. Oh, no. I mean,
you watch Mummy Daddy. And if you don't love Mummy Daddy, there is something wrong with you hanging
forever, buddy. You know, it's just one of the greatest shows of all time. One of our best homages
to that show was the title sequence and hands up or, you know, applause to Brian Beanford. Yeah.
Amazing title sequence. That looks just like amazing stories. But my favorite thing about the title
sequence is that my dad is threading up a projector, which basically is my life. I was a
projectionist at high school. That was to me the greatest job ever. Yeah. No, my dad growing up,
we had a sheet that hung from the ceiling of the second floor of the Victorian house that I lived
in in Austin, Texas. And the room was always filled with pot smoke. So it's lit very much like my show.
It's burning pots. Yeah. It's teasing them allegedly. All right. Our favorite word on the show
is allegedly, allegedly, allegedly, you know, let's face it, they were hippies. And I was a child
of, you know, and so you always saw the beam of light coming out of the projector. You saw it,
hit the screen. And when I told this, you smell it right now, can't you? Probably the number one,
yeah, another sweet smell, a gonja. And, you know, when I was trying to get Mel Gibson to commit
passion of the Christ to button on, when the Pope had actually not the current Pope, but two
popes ago. No, one Pope ago. Yeah, Benedict. The way I designed it. 14 through whatever.
Benedict wanted to see passion of the Christ. And Mel Gibson said, no, because Mel Gibson's all
about Vatican II. And, you know, he doesn't believe in Vatican I. He's like, I want revision.
And, you know, he didn't want the Pope to basically thumbs down, I mean, because let's face it,
the Pope thumbs down your movie about Christ. Yeah. That's kind of the guy. He's a lot of followers.
He's that cold on the one sheet. And I will never forget the poor he gave. Yeah, no, no, it is like
thumbs up. And he said, his quote was, it is as it was. I will never forget whenever he said
that could be the Pope you say. I know when I read that, I'm like, okay, yeah, I guess he would
know, you know, if Roger Ebert were Jesus, he'd be buddy. Jesus. Did you really? Yeah, but I've got
this over. So, oh, my God, there's, I got a bajillion questions that I can ask. I can buy these
serious, you know, there isn't a name or a film you can mention that I will not. Well, I do
want to talk about what we're here for composing. Yeah. Oh, I do want definitely want to talk a lot
about the TV show as much as possible. Well, the number one thing that I'm really hoping on is
if we can get the actual budget to do a third season, the way that I would like to,
it will, people won't even know what to think. Is PBS where you want it, though, or is there a
bigger vision? I don't blame it. Okay. I don't blame it. Here's the thing. You realize PBS has
more viewers than HBO. Oh, absolutely. It has more viewers than AMC. Okay. It's the network
that we can reach the most people. And my thing is, is the birth of all of this, everything that I've
ever come from comes from Matt Nay at the BGU and Cisco and Ebert. Exactly. I knew that's where you're
going with that. But that, that, that, that double, yeah, an electric company. Because everything,
everything, everything, everything. What is this, this new version of the, have you watched this
newer version of the electric company? What is this? Why would I? Exactly. I'm a grown-up now.
I could still go back and watch all of this. I can still get off on that one. I actually have a
box that I don't like this company. I've been wanting it. I've been wanting it. I've been wanting it.
All right. I reviewed Blu-ray and DVD, so I'm in no spider. No spider. Yeah. But yeah, this
newer version, it's like, why even call it that? Because it's nothing like what it was. It's the
weirdest thing. Well, I mean, if it doesn't have people with patches on their Levi's, there's
something wrong. Let's go back to that. Okay. The reason why is it's a franchise. It's a name.
It's easy to market. What we just created, I started thinking about this because I'm, I'm trying
to develop another film. There's so many genres that have been done and done and done again.
Nothing has been done like our show except for what, what other shows would you compare to?
Nothing. I mean, exactly. Like, honestly, because I mean, immersed the viewer into the genre.
So excited to see this. When I started on a television, it was with Roger Ebert. I was one of the
first guests that replaced Gene Siskel when he really, and I did the most of the substitution shows.
I did five of them. And Roger liked me so much. He wanted to take a special show where we just
talked about cult movies, and he never did a special show with a single other critic that ever came
on as a substitute, including Richard Roper, who is, like, in fact, and, you know, when I went on
the floating film festival with Roger Ebert, which is a cruise ship that goes all through South America
showing movies. I was founded by Dustin, uh, Dustin Cole, who was the founder of the Toronto Film
Festival. Okay. Um, when I went on that cruise ship, he offered me the gig of being the permanent
co-host of Ebert at the movies. And I turned it down because I didn't want to become known as being
in a dead man's chair. Fair enough. Like, fair enough. It's understandable. It's just the thing.
I always have to leave them myself. Not only that, to me, it's a disservice to you and Austin.
Because you are carving your image. You are the epitome of Austin. And when I first went down
and the first thing I thought of on the set was Chewies, keeping it weird. And I think our show is
totally awesome. Yeah. Good. And the fact that it's been embraced by 73 markets shows me that
Austin's pretty freaking cool. But the thing is is when you think about, if you think about what
Austin became and you think about the film festivals and you think about this, the music scene in
Austin, my dad founded Minds Eye Light Show Company, which was the first psychedelic light show
company in Austin. After that, he had the first comic book and movie poster memorabilia shop
and in the state of Texas. He threw the very first, is that where we went that time?
Any mercantil company in Austin, Texas. No, this was that, it was like the biggest comic book store
that we had ever been in. When we went to an audition for The War of the Wizard of Pop culture.
Yeah. And I was looking for like, I think it was. I think it was. I wanted to see it on this
more. My dad shop closed in 1976. Oh, okay. Okay. So we're talking old school. Okay. Okay.
And this is like an old five or so. Yeah. He threw the very first film festivals in Texas,
which were in Austin, Texas in like 1975, 76 and 77. We're coming next, no, 76, 77, 78.
And next year's the 40th anniversary of that. And I'm working on putting together a special
Austin fancy film fest with the Alamo draft house to sort of celebrate that. But also the 20th
anniversary of Ainut Cool News. Because 40 years ago, my dad started the first film festival.
20 years ago, I started the coolness. And so for me, like, if you go to the key personality
who made Austin cool, which is Lewis Black of the Austin Chronicle. One of our executive producers.
Yeah. And then one of the guys that founded South by, I found that mistake. Absolutely.
I found myself. Not that Lewis Black. This is a different one. This isn't, this isn't, this isn't,
this isn't the, but Lewis Black from Pixar's Inside Out. No, this is Lewis Black, the God of Austin.
And, you know, he, as a teenager, was in my house all the time from the University of Texas,
researching movie stuff from the 19 teens, 20s, 30s, 40s at my house. Because my dad had all the
memorabilia. And so he was working on his doctorate and film at my house growing up. And he was
always jealous of my comic book collection. And I was a little pipsqueak at the time. You know,
I was like, run around the diaper, biting people on the ass. You know, I mean, that's what I was.
So they're going to start the air soon. No, no, we are air. Oh, no, no, we are coming soon.
In other markets, it is a date that is sometimes in November is when the Dallas market starts.
So there's seven episodes in season two. But they're going to replay. We don't call it season two.
Okay, because there was a nervous season. It was a web episode season.
It's a progression. And now we're on broadcast. It's it's it's evolved. Okay, in many ways,
Harry and I. It's the first television season. It's first time. We had to step back from the
entertainment value of it. Okay.
Well, we didn't have to mind and watch the entertainment values that we did the first season.
If you think about it, the first season, most of those that first all those episodes that are on
YouTube on a per minute basis, they had a higher budget. Yeah, they had three times a budget.
So there was less self indulgence in what we had to focus on is our message. So if we had an
interview with West Craven or Danny Boyle, we focused on how to we had two out of interview with
Bert Reynolds. We had to focus on how to give an audience the best we could have gone on 30 minutes
with it. We gave him seven. And it's it's a really good seven. Well, and when we're doing seven
minutes, every bit of those minutes has visual effects of it because we have a magic globe that
Bert Reynolds had just floating around in. Harry was probably the best at interviewing in the sense he
gets people off their off their game. And that level of comfort. And we find out things that no
one's ever shared before. So I mean, we interviewed Bert Reynolds and it was it was it was like
an amazing interview with West Craven. Every interview is so different than anything people
will see before. That's why our show is so I think the combined efforts of the two of us,
we put in all of us and put in 110% create something that no one's ever seen before.
I mean, I'm excited to see. I am too. For me, what what I try to go for is you know,
like there's the way we talk about film when we're like on a podcast or something. And it's I
mean, unless you went over to Twin Peaks, you got a little loopy like me. Or the place between
the two shiners in front of you, like my director over here. I offered them one. Yeah, yeah,
I bet he did. He really did. I bet you did. I offered a mill if he had said sorry to take
him up on it. What what I tried to do with the show is is talk as passionately as like if you've
ever waited in the line outside a movie for hours and hours. Oh, no, we've never done that.
Of the show. And you sit around and you're like playing cards or you're playing trivial pursuit
and you've been drinking and you've been having fun. And you just it's unrelenting. You don't have
your sensor on. You are alive. And it's like the films and the excitement of it just go and flow
straight through you. That's not how film critics talk. Right. Film critics dress with a suit.
They dress in a tie. I see that's what we avoid. Yeah. And they officially try to present
themselves so that people have a feeling of, you know, of authority. You know, what I tried
to do is I wear my crazy shirts. I wear my crazy shoes. I'm on my set that looks like a,
you know, horror show. We keep it weird like in Austin. You know, that's the only way I've
ever seen you dress. I was shocked when you cut your hair. We're starting to get the high signs.
I like it. We're starting to get the high signs. I don't want to take up too much more of your time.
But tomorrow night, seven o'clock, eight o'clock. Yeah. Here at the Angelica. And I'm assuming there's
going to be a Q and A afterwards. I assume I will be ludicrously making fun of my director
to the whole time. That's a love, love thing. That'll love eight things. We're going to try to be
there if we can. Awesome. And we're going to be back here Sunday. If you guys are around,
we're going to be doing another show on Sunday. So if you guys are around, we'd love to have you.
Red Heart was here. Great users here. And the great Harry knows. Ain't it cool with Harry
knows tomorrow night, eight o'clock, Angelica. Be there. And I'll tell you all the secrets about
the next Star Wars though. Just don't tease nine weeks. Nine weeks. Thank you so much guys. Thank you.
So much. It's been a pleasure. The walk was great. We did see that in the in the 3D.
He scared me. Had I checked into my hotel on time yesterday. I would have been seen the walk.
See you later. Thank you, sir. Take care. I think you might be caught up in your in your
lane. Yeah. Yeah, you put the lanyard on after he had his headphones on. Feel free to have a seat.
Don. Don's going to keep me rolling. We are just moving along. We are live. The Clubhouse
podcast is live right now. Angelica Mockingbird station. Dallas Video Fest 28 is in full swing.
We're going to be back here again Sunday afternoon. It'll be late afternoon. We don't know exactly
when yet. But we're going to get here as quickly as we can to cover more stuff. There's so much going
on. It's hard to keep up. We have another guest. You can talk right into that microphone so
everybody can hear you. Stephanie Hubbard. Welcome to the show. I hope I said that right. Yes,
you did. Well done. Stop the landing. Well done. Sometimes Don's handwriting can get a little
wonky on me and plus I'm a literate. You are the director of improv death of the ice age.
Which I read a little bit about this going in. I'm going to let you talk about it because I don't
want to make I don't want to screw this up because I think I know where we're going with this but
I want to hear it from you. Okay, well, first the title is improv death ice age. Okay, improv death
ice age. I like how you added in the of the. But he put the put of I added the though. So yeah,
so it's it's tough because I feel like the title kind of says it all and like you got to come
see the film. But it starts out with a we start we started tracking a top level improv team like
one of the best improv teams in the world. Where are they from? They're based in Los Angeles
but they come from all over the country Chicago different places and they were an amazing team
and I got to know them a few years ago when I was doing improv and all I knew is that I wanted to
make I'd been making documentaries for years and I knew I wanted to make a documentary about improv.
And what these guys wanted to make a documentary about was sort of what I wanted to make a
documentary about which is a thing called group mind. Okay, and go ahead and explain that for
because we've got viewers. We've got listeners all over the place all over the globe. I really want
them to get a sense of this because I'm a huge improv fan. Have in some time was a kid and people
don't understand improv is not an easy thing. Now improv just let's talk about what improv is for
a second. Absolutely. So a bunch of people go on stage and ask for a suggestion. Be so they
have they cannot plan what they're going to do. Really based on what suggestion they get
they then put on a show and you know in LA the show is about half an hour and they're according to
a form called the Harold but there's many different forms long form improv and I took a friend
to an improv show one time and she said that was a really good play. I was like no no no no gosh
they did not know I mean they made that up as they went and so there's a lot of listening that
happens just like I'm listening to you now and you're listening to me now. There's a lot of
listening that happens and based on that listening then the other thing that's happening right there's
listening and then there's sort of like people are storing things in their mind. So you've always
got to be two steps ahead of where you are so you don't lose where you're at. Right and then there's
the point where you don't know why you're doing it but you're just doing something and then it
turns out that that thing you didn't know why you did turns out it made perfect sense and it made
the whole thing work and you didn't even know why you did it that that sort of like what we would
think of is like being picked up by a perfect wave you know like that sort of mental thing that
happens is group mind right and so in the in the film they talk about a little bit of like it's
like if there's eight guys on stage it's if there's like a ninth mind telling you all what to do
and it's sort of like a unity like a hive mind concept yeah but a hive mind that's not so much
like a lowest common denominator but it's like a greatest highest yet to be like oh my gosh I don't
even know what I'm doing this but so there has to be like trust there and there has to be just the
trust of the person expressing it and then the trust on their part that everyone else will
go with it yes and so a lot of the talk about the film is how it's like non-judgmental like just
being in an environment where it's yes and like you say something and I say yes and it's I call
it that special kind of crazy right because it takes a special kind of crazy to not only be able
to like you said listen but be able to react in a way that's that's natural to the audience that's
watching you that makes it all work and also there's a especially for people that are funny
it's a great challenge to not go for the joke agreed and so these folks they let it slide and they
bring it in and bring it in and let it build and let it build and of course because of that it
becomes funnier and funnier and funnier but the film have you I assume you haven't seen it I
have not had the chance well you'll see it tomorrow because you'll okay what time tomorrow well
somebody told me it was nine forty five and then I opened up the schedule and they're saying it's
at five so I don't know and maybe if we can get someone to check what time it is we will talk to
Kelly when we see her okay that'd be great because it's going to be tomorrow and hopefully I
want it to be many times because everyone's going to want to see it and that's going to be here
at the Angelica yes and what I like is it's from what I'm seeing in the in the in the program it's
in theater eight and we've we come spend a lot of time here at the Angelica for screens theater
eights kind of a more intimate theater which I think for something like this it's going to work
better for people just you know that I would frustrates me sometimes is as good as this show is
for the medium I think that people get a little bit I don't know maybe misdirected for shows like
whose line is it anyway right because like the original British version absolutely loved the
American version not so much but I think people get a little misdirected from improv from shows like
that yeah if you're not going and seeing some of these these improv troops that work together right
that's where you really get to see how the how the craft works in my opinion well so so there's a lot
of films out there that are about the craft that show top teams performing and then oftentimes there's
even a commentary afterwards from the team like or the people who performed and I was very specific
about not wanting to do that okay there were a lot of people who said if you were going to make the
definitive improv film which was an option it would mean interviewing you know Amy Polar
Drew Carey Steve Carrell it would mean you know sort of bringing in the the people that we now
sort of associate with very broad strokes yeah and that didn't really appeal to me and the thing
that I really wanted to follow was that the team wanted to do group mind and I wanted to do group
mind and so the film itself there's funny parts to it and there's like layers and and anyone who's
done improv will like it's it's working on multiple levels just when you go to an improv show the people
there who have done improv will get the inside jokes like when someone doesn't get the triple or when
someone pips someone else out that stuff is happening in and those jokes are in the film but for
someone that doesn't know improv at all there's a lot there as well because it's not just a
improv performance which never quite seems to connect down on film as well as live agreed
it it is there's like multiple threads moving through the film so there's like a science thread
like what is it that connects us and then I went to find a scientist who is an anthropologist who
also does improv and all of a sudden that's when we're talking about the ice age there's a lot going
on here how long did you spend with the troop well the troop I had known the troop for a few years
and actually they do a thing called the lottery there which in L.A. which is where they choose people
from who are like level one level two like beginning improvisers and they bring them on stage for a
show all different levels of improvisers just a show you can do a good show with people at any
level so I had known that I performed with them as a beginner and they're like the master
and I had taken some classes from them and I really loved their style because they're very
almost like dancers they're like really like doing a lot of motion I'm waving my arms around
this is an audio medium but yeah I like it so I because I think in my heart I'm a dancer too so I
felt I really liked the way their style but and I also liked the way they connected to the spiritual
aspects of improv and that's what I really wanted to bring into my film and as a consequence of
working on this film I went on to do my masters in psychology wow there was so much working
psychologically and that I was you know working on the film meditating knowing I was going to do
something different and I started a masters in psychology and that's what took me so long to
finish the film because I kept learning stuff from my masters that I wanted to put in the film
wow yeah so it's a it's a it's a shoot it's a small it's like a half hour film but it packs a
wallop you just answer my next question how long is it well you know I am you don't know you might
not know this about me but I am sort of a world known documentary specialist okay so there's
people from around the world that hire me to help them with their documentaries oh wow
so I worked on documentaries about you know the Syrian conflict about Egypt about I mean I was
a an editor writer on an award-winning film about tellment lusters like I've worked on some on the
golf oil spill I've worked on some heavy wow heavy subject matter so when I came to do this I was
very much like many people that I see who do documentaries like well I'm going to make a feature film
and my last film was a feature film and I you know and it was the perfect link for what it was
but for this film I really wanted it to just be what it was going to be fair enough and what's
interesting about it is that it's very dense there's a lot going on and you could watch it many times
but it's 28 minutes which is about the time the length of a really good improv show fair enough yeah
and there was actually points when I was doing the editing because they took me like several years
to edit I kept going back and and massaging like I shot it in like seven days and over the course
of a couple months shot it seven shooting days over the course of a couple months and then took three
years to edit classic story but like there were times where I actually spelled out like the form like
act one act two act three the way you would in a like an improviser would recognize oh they're
changing the act this is the game this is the this but then I like pulled back on that but that
stuff is still there so I can't remember what your question was though and if I was listening the
way and improvising how long it was I said you would already answered my next question so it's 30
minutes 28 minutes as has it been viewed before tomorrow well when Bart accepted it it was very
exciting to me because I sent him a rough cut and he was the first person that I showed it to
outside of my immediate circle because Bart Wise who's an amazing human being yes absolutely
and he had screened my last film Bible Storyland which had screened at the video fast some years ago
so people saw Bible Storyland and like that they should come back it's the same director that's me
so right so he'd screened that film and I couldn't make it at that time because it was such a short
like you put me in at the last minute so he said hey we're we're we're gearing up for the video
fast anyone got any stuff you know got anyone and I and I sent him a rough cut and he loved it
and so it was this lovely kind of like well here's my thing like that timid first little thing to
a super friendly audience and he responded so well and he was super excited about programming it
with the improvisers and having the improvising show going on right after it oh really yeah so
what's going to happen is there's going to be the film 30 minutes right painless then there's
going to be a lovely Q&A with me probably not unlike what we're doing now awesome and then there's
going to have performances from two local Dallas teams that is awesome and we you know that's
something that video Fest is doing this year that's a little different last night we saw the
Monty Python documentary the meaning of life and there was a guy that they brought in it did 10
minutes of stand-up before the film just to kind of set us up and I kind of like that that live
interaction part of it you know like they did with Metropolis the other night that our our marketing
guide Don got to go see and said it was absolutely wonderful where they did it with a live orchestra
with a brand new score and there was dancers and everything else I like how do you get that
interaction part of it because they get to see the film they get to talk to you about the film
and then they get to see the horn which is great what's interesting what's coming to me as you're
saying that is you know like this film is going to you're going to be able to to rent this film and
watch it at your desk or on your TV for the next you know 10 years forever who knows but that's
the thing with the video Fest is it's going to be a really level you're gonna get to see it with
an audience in the times I've screened it for my class my psychology concentration at my university
where I was just doing my masters and it was such a powerful experience seeing it with a group of
people it's that kind of film that I think really lends itself and then to also have the performers
who are then going to embody the values because they're they're going to be performing after
having watched it right so that's going to be I think really super exciting because the thing
we haven't talked about yet is how when I spoke to the anthropologist right there are all these links
to how what we do in improv goes back to how we became human and literally how we survived the last
climatological disaster that we as humans faced wow without any our only technology was this is face
to face conversation improvising death rituals dancing around the campfire like celebrating the
life of of our lost comrades and our tribes doing that was the technology that enabled us to survive
the only bipedal hominid to survive the ice age fair and that ties of course back in it we are
exactly yeah now you know everything is there plans any plans to bring it anywhere else after
absolutely I mean Bart Bart picked it up right away which is a real honor it's it's it's uh
also the Atlanta Independent Film Festival picked it up yeah I saw your announcement how you
excited you were that you got the invite to the Atlanta Film Festival Atlanta yeah so it's I
figure it's like it's making its way across the bottom half of the country there you go yeah so
that they're all of the same longitude or is that latitude I don't know you know what I never
had to take geography I shouldn't know this I was in the Navy for four years and I should know
that you should know this where's your sextant I think longitude goes north to south of latitude okay
so I would write latitude so one of my favorite lines yeah that would make sense because of the
song changes in latitude right if you're going south okay you know I'm that's my reference from
now on Jimmy Buffett and then can I can I reference one of my favorite lines from a Marlon Brando film
please do mutiny on the bounty 1963 I think or is it 61 where he goes it's my sextant so you know
it's be a good one it gives it to when he gives it to bli he gives him bli as old so it's going to
it went from LA to here yeah yeah well I think it actually don't tell anyone but I think it's
screaming Atlanta last weekend but only want one I have a student I have a filmmaker in Atlanta who
went to see it and he posted a back that he liked it so that was good it's getting a lot of the
people that have seen it in LA the psychology group are like blown away by it and that's why I
really want to encourage if you like radio lab if you like NPR if you like
Ted the Ted radio hour you will like this movie because it is the kind of movie that where it
brings a lot of it's very polymathic it's like it's like bringing a lot of different elements together
into some interesting ideas and it's I was talking with them the comedy critic here in town picked
me up at the airport today very nice hospitality thank you Dallas thank you Bart
and you know there's a lot of social change underpinning to the film because we're dealing with you
know live shooters we're dealing with climate change oh yeah none of that specifically mentioned
in the film but I feel like what this film talks about is an antidote to that oh very nice yes
so all right one thing we like to like talk to filmmakers about when we do the film festivals
it's it's kind of a curveball question a little bit okay I'm ready but I think that it needs to be
asked in this case if I give you your brothers yes of where the documentary winds up airing okay where
would it be wow well I think it would be a good fit I mean that's an interesting question because
my first thought is HBO because I watch a lot of HBO don't they do great documentaries yes and
but I get suckered into what they do is they buy documentaries from filmmakers and sometimes
they give money to filmmakers that are already halfway through but then there's I think there's
something about this film that to me I think almost everybody should see it so I don't want it to
be an erratified place that's why I think you know what what I've thought long and hard about it is
I'm going to be renting in on Vimeo okay yeah so anyone could see it it's going to be like two or
three bucks nothing wrong with that improv death ice age and I just like my son is 12 and I see how he
absorbs media is he here with you yes he is he's sitting right there looking at probably somebody's
waiting that's right now somebody's video on his iPod and so I I really see this fitting into like
a new generation but also I feel like you know people in their 50s and 60s are going to
respond as well because they're so conscious and so it's it's um so an answer to that curve ball
question what's there you know media is so fragmented now indeed like where should it run I don't know
I I love the the way the I actually call it the business plan which is for lack of a better term
of places like Vimeo yes where you as an artist you get that platform that you can get it out there
you don't have to have distribution you can go look it's out there you can go watch it right
now I can see it air on something like the IFC I was thinking IFC yeah I think that would be good
but I think it's a little too sciencey for the IFC I mean I think that it's a very artfully made
documentary and I really worked hard to make it like immersive like an immersive experience and
I'll tell you another channel that's really starting to to get their feet wet in this category is
epics oh okay epics we actually got to see a documentary they did earlier this year on the
integration of pro football that they're really kind of getting and they're doing a lot of comedy
specials and a lot of things of that nature where they're kind of they're they're inching forward
but they're bringing quality yeah quality stuff to it yeah one of the things that we're all about
on the show is shameless self promotion so social media websites give it all to us so if you want
to hire me to help you with your finish your next documentary and notice that there's a film
screening tonight that is not yet finished we talked to the director a little while ago well I
should meet them go to the documentary insider I have a blog there very nice so you can you can get
all my philosophy about making a documentary and my favorite docs and all kinds of stuff about
my perspective there and we have a Facebook page improv death ice age and the trailers there
if you want to see it just go on Facebook and put it into our Facebook page as well great um
I don't I have a book that I wrote but that's going back a long way in terms of self promotion
hey whatever whatever is no limit there is no statute of revitations of self promotion
exactly all right thank you very much it's called the bluff island rescue service it's a it's a
memoir is it is it available on places like Amazon or anywhere like yes yes but I would go
yes you can get a Kindle download that's a great way to do it and also a really wonderful book
people have really loved it and raved about it and it's it's you know been an amazing adventure
to have that book okay so tomorrow we're gonna say which time because we're not quite sure yet but
it's in the schedule at five but you may want to check upstairs just at the media table
I will because someone else told me it was nine forty five which I thought was kind of late or nine
fifteen I think I mean I would I would go with what the media guy says but you might want to double
check with with Kelly I'll run up and then I'll run back down okay and I'll tell you
Stephanie Hubbard thank you so much for joining us it was an honor to have you
hands making eye contact it's like we're having an improv an improv ritual right here there's a
moment yes thank you very much I appreciate enjoy the festival thank you all right you the
puck clubhouse podcast is live Dallas video fest twenty eight oh you know I was gonna say it's
almost as old as us but it's not even close no make sure you visit our website www.theclubhousepodcast.com
find out everything you need to know and some stuff you don't look us up on Facebook look up
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believe me the feed on the on the on the on the pages buzzing is it good that's what you get to do
when we do these things I get to do the interviewing you get to do the social that's why I'm a little
quiet because I'm I am networking like I'm like a mad worker bee you can follow this show on
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Charlotte Parker is on Pinterest because we are more are we obligated to say that and
Jules Walmick probably relaxing at the house this evening he's in the quiet she's going to
enjoy us for the Sunday show maybe quite possibly all right fair enough we got some breathing time
so you want to talk some headlines yes let's do oh wait wait wait wait wait oh wait
we're definitely putting the iPad down if we're about to be joined by who I think we're about to
be joined by a man who has been talked about more on this podcast than any other
every every let me let me get get your headphones on and we'll turn your mic on for you
joining us right now is a man that I have referred to in multiple times on this particular
podcast alone as a quite quality human being a man who actually accepted my friend request on
Facebook otherwise welcome to the show sir it's such an honor to have you here thank you that's
very sweet we saw you last night for the meaning of live uh which was wonderful it was awesome
I was a really wonderful film as guys we like to men of a certain age we have a we have a certain
affinity for the money Python and to be able to to be able to screen that on a on a movie screen
and have you guys host it was an absolute joy and and the idea I mean one of the things that's
really charming about the film is in our brain we remember these as young guys and it's they were
when they did it and to see them as shall we say elderly gentlemen who let's just say they put on
a few pounds since the days when they were doing that and to see them get up and still have the same
timing and you know go through it it it's just it's really kind of a testament to the power in the
spirit of who they were and they seem to still love the material that they're doing to see them
cracking up doing it yes it's like how many times John Cleese break yeah that's something you
never saw back then and also John Cleese's mellow because you know back considerably he was everybody
was afraid of him and and he was you know a real sweetheart and and also I don't think in anything
we've seen in other material we've seen them rehearse we've seen backstage and and more than
anything else here at the end you get to see them as people and see them you know their nervousness
their worryness their their lives and I think it's just a beautiful film is there is there any
plans for home video distribution of that documentary or anything I believe that will be available
on iTunes oh really and because we saw the the the final performance is actually available on
blue right we actually saw it on the shelf today the the guy who made that film you can see I did a
google hangout with him he's been making films for years and has made a lot of very serious
important films about police and things like that so it's you know very well crafted as well
but it is a lot of fun and one thing that I that I really liked that you were doing and I don't know
maybe I don't I don't know that if this year's unique to this but it's the first time that we've
seen it in the three years we've been here where you're doing a lot of of interactive things either
before or after the screens like last night for a meeting of live there was some stand-up comedy
tomorrow night we just talked to Stephanie Hubbard yeah she said that you brought in a couple of
improv troops to perform after that documentary yeah and and and so our idea was that you know there's
a lot of great talent of so many different kind of ways right you know so right now before the
brainwashing and my dad I have a Thurman player and I just thought Thurman brainwashing that's
really kind of great and so before one performance we have the Booker to Washington mind troop
we have dancers we have percussionist and so the idea was to sort of open up the idea of what a
festival can be and you know it's an opportunity to reach different kinds of audiences and to bring
people into our family we just got word that improv death ice age will be tomorrow night at 915
here at the Angelica so and and particularly about that I mean Stephanie's really wonderful and
I don't know if she talked about you know what's been going on her life but she's had a you know
pretty significant tragedy and and that she's actually come here after what happened to her
when if she didn't tell you just something happened okay fair enough and she didn't discuss that
with us okay anyway so I'm hoping that she will want to join in with one of these because she does
improv herself and so if she's up for that she's right there so I'll talk to her anyway so the idea
of having a documentary about improv and it's not just you know this improv is great isn't it
wonderful these people are wonderful but it really goes into the sort of meaning why do people
do improv what is the deep dark secret that people have to sort of do it historically what does
it come from so the idea was that after this film that the improv troop would see this and how would
they respond after sort of getting this sense of the sort of deep psychological issues to go into
improv and it looks like things are going really well I want to say congratulations on
metropolis the other night when you sell so many tickets that we have to hold back that's a good
thing you know I got the email from Kelly she's like we may have to give your seats to people that
have paid I'm like well that's the way you're supposed to do it and Don got a chance to go he said
it was wonderful I saw some of the pictures you posted on social media if far exceeded our expectations
you know something we have been working on that for at least six months and it was just kind of an
amazing way you know it pulled off and and I'm just you know happy I mean it's like this was
a dream an idea of how can you mix dance and live music and a film and make it something that's
not getting in the way but as a rich experience where these things feed off of each other and
that they totally did and the whole concept of having a live orchestra there playing a score yeah
and being able to sit there and just take it all and like we got to see the stranger last year
and it was an amazing experience and for our listeners whether you're here in Dallas or anywhere
in the world that you're listening if you get the opportunity to do this do it because number one
you get to see classic films on screen number two you get that interactive experience that you don't
normally get was this year was it a new score because I know last year they read the new score
he commissioned a score by Brian Satterwife from Austin and he was up here for it and he was
really moved he had never seen anything where there was both his live score and live dance and
he yeah he was pretty happy and I got to see that we were just talking that you got to go
you loved it and there's no doubt in my mind that everyone by the bite and the credits were on their
feet more than one person told me that that was probably the longest ovation that the Dallas
performance Paul has had and a gorgeous room yeah that Dallas performance hall is a beautiful room
and it just it just keeps getting bigger and and I had no really did not believe that we were
going to be able to fill that hall that's that's like a major achievement for us and yeah what I
saw that you like I said when I got the email I was like that is so awesome for them that they
they sold out all those seats and you know we had to go on standby totally cool with that because
I it's important for us to have as many people that are going to pay to be there and and take up
those seats and get that experience now we're still going strong yes and I I know I ask you this
question every year and sometimes sometimes you dodge it and sometimes you don't but I'm going to
ask it again what's the one thing you're looking forward to so far well actually at the moment
there's so many right now one of my favorite films is playing at the moment which is a brainwashing
of my dad which to me sort of sports so talks about the importance of our media and how media
can affect people and I don't know if you interviewed Jen she was our first guest tonight and she
was absolutely wonderful yeah she's really great and I don't know if you saw this but on Monday
I had a editorial in the Dallas Point news talking about this film and the issues in this film
which I thought are really kind of critical also you know on Sunday we have these sort of two
tributes you know that we have always you know done something about Ernie Kovacs with the
Kovacs fans and this year aside from the person where people were honoring Josh Mills whose
Idiotum son will be coming in and Josh has never come we've been working with him for years
at helping but he's actually going to be here and because he's a big fan of Chris Elliott who
are giving the award to and Chris is pretty cool and we're also going to have by Skype
his father Bob Elliott of Bob and Ray Fan fan and the Kovacs award for our listeners who
are maybe are new to the show or don't know the Kovacs award go ahead and explain that because
it's such a cool thing okay so to me I have a great believer in the power of television and media
and you know whenever there's a new media there are people who do things the old way and then
there's somebody who comes along and figures out what can I do with this media to make it really
cool and this is a lot of what our values are as a festival so Ernie Kovacs was a comedian who
never really got up and told jokes he did not have the vaudeville tradition that Jack Benning and
all these other people did he used the camera to tell jokes he used editing to tell jokes he
understood the power of television and did it brilliantly it's like a combined performance art
with comedy and elevated to a level that was almost ridiculous and and and and pretty much
everything you see in late night television is derivative it really is and and so for us when
we thought about like what could we have like something about like Ernie Kovacs was was like it
and and I don't know if you know this but the very first program the very first year 1987
was media Adams presenting the work of Ernie Kovacs really yes that blows my mind because I've
been a fan of his ever since I saw his documentary on showtime that John Barber hosted back in the
early early 80s that was a while ago it was called it was called TV's original genius yeah and I
got hooked on watching the Nairobi trio over and over and over again to one of my mom said if
you watch that one more time and this break and this year's recipient is Chris Elliott and Bob
like very much in that thing absolutely and and and by the way I put together every year I do a
little Ernie Kovacs montage for people who have never seen it and at the time I was putting this
together the Rangers were still in it so I did this he did this little film about baseball where he
plays like all of the characters oh wow and then at one point like he's running for a ball and they
cut just like somebody doing like jumping over something from a you know from a another film
and then back to him and they just like just playing with the idea of you know what a
portrait of a TV and and making fun of the way television is presented but using the language
of cinema and Chris is going to be here and Chris is fascinating fascinating person and Bob
Elliott of course doesn't travel very much he's a rather old but he will be on on Skype and in
multi-generals you have Bob and you have Chris and then you also have Abby okay so I am a huge fan
of from her SNL days so so just wait for the tribute reel the last shot of the reel is the
it's very in there's a little bit with her and it's perfect and I'm a big Chris Elliott fan too
yeah you know people of our generation remember him from a bunch of stuff he did with Letterman
yeah that's mainly what I remember one of your favorites if I'm not mistaken was you know he
did a movie called Cabin Boy and they did a real of different people auditioning for the Cabin Boy
role with the with the what you with Letterman's line of you want to buy a monkey yeah and it was
like Bobcat Gulfway did one and it was a bunch of it's a very very funny funny deal and he is a very
very funny man yeah I mean it didn't and I'm yeah he spent at least two seasons on us I know
I'm not sure I think he did I think I think that's the first multi-generational if I'm not
mistaken of of Saturday Night Live I've always been a fan of this family I'm I I just I'm I'm a
little I'm just a little speechless right now because you guys I mean you like last year was
Harry's here Harry's here year before short slaughter and you just you keep bringing these these
great people to a great festival and a festival that it just to me it just keeps like when we
did the first the first one we did two years ago uh-huh we had such a blast and then we're like okay
this this is this is the bar and then last year it was like even better and then this year we're
even having more fun and it looks like you're having more fun my friend well you know look doing
this is a great passion for me I it's like very close to me I mean I I teach for a living I do a
TV show I do a lot of things but this is you know very core to to what I do and I am always asking myself
like what can I do differently this year how can I you know try and do something else and uh you
know I have I'm really happy to say a board of directors who you know I'll go and say look we're
doing this program we may not make any money this may be totally crazy but I think we should do
it I think it'd be a really good thing for us and they're like yeah okay go ahead and the angelica
has been so good and she the festival they're they're really really nice you know we're stressing
out about this and that and worried about this and they're like oh no problem yeah I mean last night
we had this wonderful film about the stew pot serving second chances and one of the main characters
in this film is a guitar player and so we wanted to have him perform and to tell you the honest
to God truth two weeks ago we had no we couldn't find him really we had no idea where he was and
then he resurfaced and he was here and he played a great set was it who was down here where we're
sitting right now is a little four piece band that we yeah we were listening yeah you know they
sounded great so so like he was a character in this film about homeless and and and so I mean it
wasn't just like yeah they're great they're great and they're dealing with difficult circumstances
in their lives and uh so that was that was like really kind of cool and another thing I love about
video fest too is yes there's films to watch yes there's there's documentaries but this year
you're doing something really really cool and I'm going to miss it because I have another
engagement and I know Chad this is something that you are very very interested in if you want to
go ahead and talk a little bit about it well I'm assuming you're talking about a little thing
about right down the street a local establishment that is no longer with us the the north park
presentation oh yes okay so tomorrow morning actually the whole day tomorrow is kind of amazing
so we're starting out with this program which okay so uh Jeremy who used to be our
projectionist is a good friend of mine and um he has been writing this dissertation on
the cinema one and two about like what is the cinema why that was really important and for people
that don't understand an art local or again we're around the world north park one and two
was a it was a it was a mom movie theater for all intents and purposes but it was more than that this
was I mean this this affects you because this was your childhood sir please talk about it the
nickname that that was so common among Dallas sites I don't know I'm assuming you're familiar
with it everybody called it gods private screening room yeah and it was a first first movie theater
really and that had great picture and great sound I mean if you think about
history and and this program starts at you know movie theaters palaces downtown and then
how did we move from there to where we are now and and the sense of you know history and uh so
it's it's really kind of wonderful but that's just like the first act of our history of technology
and presentation so from there we go to this wonderful program about 3D rarities which is really
awesome yeah don't got a chance to check that out if I'm not mistaken the 3D rarities and
I was able to see that uh I thought little individual yeah the little individual screening
there and stuff with Kelly and everybody and it was we had actually restarted because we started
it wasn't working correctly so the bottom was 3D so it looked like a little yeah exactly but
but basically it was about I don't know two hours of just old 3D footage step from the
20s off the capital the white house then later it shows a car being built in a dance with
Casper the ghost so I get to have the capital a car being built and Casper the ghost and one film
and make it work as beyond me so anyway go from there to the history of Technicolor
very interested in that as well um and then we have this wonderful film by this gentleman right
who's gonna be joining us shortly right uh so Alan's work once I discovered Alan we bring him here
every year and this film is really it's a mixing of three incredibly powerful and important directors
Hitchcock through faux and Spielberg and he took these lectures that they did and
intercut the films so you really understand what is good film and he is actually sitting with us
right now Alan Holzman hi Alan not the first time you've been at this table sir it's my
was this my third year in a row here see we actually got we actually made a friend Alan Alan has
has a book you want to talk about your book so it's called soliloid wars welcome to the Roger
Corbin Corbin School of filmmaking and I actually kept it as a journal while working for
a more editing battle beyond the stars and then directing Newton which was the renamed to
for bin world but you're reading it so I'm only 96 pages into it and it's an incredible
book that mixes a kind of daily journal almost daily journal of what it was like to edit a film
just like the physical sense of like what is a squat box what is this what is that now is a
movie all the work but also the aesthetic decisions that go into a film he talks about a scene
why the scene is working what I did to fix it goes into the politics of the office but also
it's like working for Roger Corbin is a very unique space in time I mean I don't think there's
been anybody quite like him and to understand this as sort of a sense of what the world was like
and how it worked what working for him was like it's it's a it's a great read and I'm I'm really
enjoying it the problem is but I time I get to read it it's like 230 the morning and I read two
pages and I literally fall asleep and not because the material is not an indication of material
but because I didn't start it till two o'clock or two there but that's when I wrote it right
the most of the entries are 140 230 and and can we I don't know if I can use this terminology
correctly but that'll be on the stars is a guilty pleasure film for me I saw it when I was a kid
and then it's on it's a stop down it's just one of those movies that you watch and you go I love
this movie don't ask me why I just love this movie it's the pace what John sales wrote it which
is part of it and it's also based on seven Sam Samurai and Star Wars so it has that I was talking
to somebody the other day about how like go do the research on how many films were actually
influenced by seven Samurai and it was it'll melt your brain yeah it's almost like six degrees
of separation like somehow every film comes back to it but in terms of script one other thing is
fascinating they're reading the book is like well everybody liked the script so we can't reorganize
the recut the film because everybody thought the script was good so why should we like tweak the
order of scenes if everybody bought into the script which is like such a stupid argument well the
argument came to pass because you know when you work for Roger first of all you're not paid very
very much and then you get exasperated after a while and they were asking for script changes
towards the end that John sales wrote and with all due respect he's a great writer but he wasn't
consistent he forgot about certain things he's writing so in editing you notice that and you say
well this can't be here it should be done earlier and that's what caused the whole thing to go haywire
but the interesting thing about Roger Corman is that it was at a time when someone else had to
put up a lot of money for you to make a movie it wasn't like it is now where anyone can make a movie
so you had to raise a budget and you couldn't you had to work for him and so he had all the rules
and so you you had to work an exploitation to be to hold film and you had to be exploited yes
the funny thing that I was a student at the American Film Institute at the same time
and the people of the American Film Institute looked down at Corman to say that's below us
and the people at Corman's looked at the film school students as a bunch of snobs doing nothing
about film and I was in both worlds well let's speak in the film let's talk about the film you've got
tomorrow when you have Bart here come on but we were actually just talking about it did you hear me
talk about yes thank you did I say anything wrong no you were great I want you to keep talking
it's tomorrow night at six yes the art of directing of when you put these three names together
there's just like no way this can't be amazing Hitchcock Spielberg Trefo and there are lots of
great I mean the clips just watching the clips of the films together are really kind of amazing
and seeing the the interviews and hearing them talk seeing you know Spielberg is a young man
talking about you know his passion why he do what he's doing what he's doing but to me the most
impressive part are are the Hitchcock interviews because you don't see very many Hitchcock interviews
that is true and you know there are books written about Hitchcock but hearing him talk is really
great and then just see that you know inner cut with his films and trying to really get a sense
of why he did make some of the choices he has and and what I love is is the like he comes up with
these like scenarios right like what if I'm trying to think of what they you know what if there's
a bunch of guys sitting at a table they start talking about baseball or some sports I know what
you're talking about I've actually seen this and and then a bomb goes off well that's not very
interesting but what if you introduce the bomb and then you have say nothing about it yeah right
so but but he throughout the film he has all of these like scenarios that he's throwing out there
that are really kind of fascinating and what what one of the best ones is he goes I don't care
about content at all right it's it's it's all about as long as I can scare people last night when we
were here outside weren't they were showing North by Northwest if I'm right yeah while a blues band
was going on and wiping out the soundtrack world's just colliding but yeah I mean these three
directors you've all completely different but three of the greats of our time and so to be but I'm
I I'm going to try to check this out if I can his cocktails a great story about North by Northwest
because originally the government said you can't have anyone walking down their faces it has to
be in the middle of their faces which is crazy it's a great seat and then he says but he really
wanted to have Terry Grant go down Lincoln and get and have and wind up hiding inside his nose
and have a sneezing fit and then he goes that's Grant not Lincoln the Grant so I'm assuming that
you're going to be here tomorrow night for Q and A after I would miss my movie for anything
I love this guy I mean you're staying at my house so I'm going to be here so this is the
world clock is set properly this is the world premiere also is it you have it going anywhere
else once it's after no here no I don't know plighted film festivals I just wait for bar
to walk that's my fulfillment that's my fulfillment it is but you know what you could do a lot
worse than this man sitting across from me right now I can't do better exactly he's amazing but
as an independent filmmaker you soon discover 10 years into your filmmaking career or 20 or 40 in
my case that it's cost more to go to film festivals than it does to make the movie no good night so
it's better I feel to keep making movies than to go to film festivals well and it's showing in
theater three which is a good size house it's the best house that's where we watched a little
meaning of life last night if I'm not mistaken that's where you watched a little house in the
prairie right I will neither confirm nor did I that that was actually an answer on Jeopardy
yesterday that's the second little house on the prairie reference I've heard this week doesn't
come up very often really that was when I was a kid that was one of the was one of the deals
that was on TV we watched that and we watched Star Trek which is a really weird company I actually
edited Gene Roddenberry's son's documentary about Star Trek really and this is a six degrees
of everything yeah and that's a really I mean you know why Gene Roddenberry invented be me up
he said I can't afford to want to take off and land as God damn spaceship you know what
necessity mother invention yes so cut your budget pretty much by a third kind of mother
of some invention were very good bad and there you go here's a great story it was very you know
dr. Spock I mean I don't know but Spock wasn't cast for the pilot so he was in the redo
and they changed his if they made his ear ears then and it was actually really painful for him
to go into makeup every every week to have his ears shaped the way they were so for the second
year they came to him and they said we have a way to surgically alter your ears so that they can
be the same way every week for the season and then when the season is done for the rest of the
year we'll surgically turn it back and he said yes that's a great idea and then they said we're
just joking somebody's do a butt kick in after that anything else you guys want to promote because
I don't want to take up too much of your time on you guys go like oh no we've probably talked
about the art of directing okay what else is there you wanted him to do it all so I'm
having my interview it's all his did you have you talked to Harry and all we have we we spent
quite a bit of time what a great guy so I mean to me that that's that's an incredibly cool thing
and you know for people to actually get to meet him I think that's like a really good thing and
had a wonderful what we talked to him for about 40 minutes give or take and he was he was a great
guest to have on it was a really really great time to have him on we've had a lot all of our guests
have been amazing it's just it I'm looking down at the clock and we've been out without been on
the air for an hour 45 and I feel like we're just starting this show so that's and that's a
testament to you sir of the quality of people you're bringing in well I I only like to bring in
my friends that's not true that's not true I make new friends every year that I didn't know
were my friends but I actually do feel very special about the people whose work we show and
there's sometimes when there are people whose work I've shown for five years and I've never met
and then I meet him someplace and it's like oh my god it's so great to meet you there is one
thing I do want to talk about oh sorry there's something about Barton I know that he's on the
board of UFVA which is the University of Film and Video Professors Association and that's where I
first met him and he is a huge influence on on the educate that the thing you are you know I'm
also the advocate for Final Cut Proves every year at the conference I tried to take on all the
haters and dismantle one of the things we try to do with the festival is to honor somebody who
was sort of unknown in in the community and this year there's a guy named Paul Bosner who has
been working in media for so long as somebody who goes back a little ways he also started this
TV show you might have heard of out of Austin called Austin City Limits yeah we were actually talking
to here a show in Dallas called Newsroom which is very influential in KERA when they had the
newspaper spotting a lot of independent filmmakers many of whom are major part of the
Dallas support work independent scene anyway Paul has done a lot of great work and I just wanted to
make sure that people kind of knew about him oh one other thing I want to talk about so Luke
that was produced at KERA many years ago that featured some Texas was shot in 16 millimeter and
it's kind of faded there are many things KERA does but preservation is not one of them because
it costs a lot of money they don't have it so this kind of blame Dunlap has taken it on to totally
retransfer a master so it's like a really high-res master so this will be I believe the first
showing of this film Jackalope in its restored state we're also should the date of that I'm in
festival mode on London frame of crime mode but Monday morning when this festival is over I'll be
editing another show at KERA okay I have two things I want to add one thing that the art of directing
has been up-res to 15k so you should see that 15k when when it was this is for the guy who
was telling me that Sony really started a new jersey and it was south of New York south of New York
New York so he's obviously time travel to the year 3015 so so so do you have a 15k monitor at home
yes I do it can only be seen so it's three hundred and fifty and just I can do you have 15 one
K monitors that you put no it can only be seen five years from now
it's a time capsule what's okay I don't do dream in 15k I dream I won 15k the other night
okay all right gentlemen we're okay but the Dallas video fest really deserves the recycling
award for the year because they are actually using for straps for their pit
what I'm gonna say 2012 yes you know what I didn't even notice that that's just now
fantastic you know it's a really way to stop waste look would you rather we spend our money on
programs and bringing people here new is coming you know what do you want flawless victory you
have look to tell you the honest it got you you have no idea how little money we pull this off
wrong you know I I don't know if I've told you this before but I don't get paid anything for doing
this and I spend a whole lot of my year doing this traveling and doing whatever it's it's a
monitor it's a miracle that this gets pulled off it truly is so if we could save a little money on
you know hey they work right exactly who looks at them anyway really you looked at it so I'm sorry
they're the same ones you had last year I said when I when I got here as a film filmmaker in the
fifth festival I get a t t t t t shirt and the person giving him out said make sure he gets the one
that's only has one side hard on one side not both sides there's a story about that so the t
shirt that I'm glad is planning your demise right now
So there's this image you can you can see the shirt that I'm wearing. Okay, so this is the two side of shirt. Okay, on the other side.
Okay, it's got the. Okay, guys open his his his his clothes and there's a bunch of TVs inside the cup. Right. Well, it's not just TVs. They're like video screens and computer screens and all kinds. So the idea of it we are exposing the world to media.
So we thought that that really shouldn't be the official video fest image, but we liked it so much. We decided it should be on t-shirts and we didn't print up as many. So you have to sort of ask for the special t-shirt. Okay.
Well, I tried to get on that side. They didn't have one in my size, but I'm a small man. So. Okay. All right. Gentlemen, we're going to let you get back to it. All right. Thank you sir. Thank you. All right. Pleasure. All right. We're going to keep moving. I'm going to pause one second here.
Just going to just one moment. See if we got this thing up and running. All right. Looks like we're moving along. Thank you, sir.
We're good there. We're good here. Let me see if I can do this real quick and get this thing back on track. All right.
All right. Cool. We are going to keep moving. We're almost to marathon length at this point. Are we really? We're at the hour 53 mark.
As we are live from Dallas video, if that's 28 or third year here, having a great time.
Our next guest, we've actually talked about his work twice already on the show. Reputation procedure already. All right. If I get this wrong, don't kill me. That's all right.
Because I'm very picky when it comes to pronouncing people's names. Bob Furmanek. Very good. Don't I get it? Everybody stuck the landing. Everybody screws up.
And my name is Rob. So if I just screwed that up that I'd have been in a lot of problems. There you go. You are the compiler and producer of the 3D rarities. Don got to check it out. Love it.
And like I said earlier, how you're able to get Casper the Ghost making of cars in the capital in one film and make it work. It was beyond me.
I always tell people that when they sit down to it, the DCP that we're running tomorrow at 145 is 94 minutes. The blue ray being sold is 147 minutes. So you even get more.
Yeah, that's almost I saw almost two and a half hours. Yeah. Wow. And how far back do these that do the footage run? I can't even talk at this point. You guys never rest. Do you?
We really don't we don't take commercial breaks. We just power through the thing. I see that. The earliest existing 3D footage is 1922. Okay. And that's about seven years after the first documented public exhibition of a 3D film took place.
And that was June 10th, 1915 at the Astrid Theater in New York City. And three reels of test footage was shown. And that footage does not survive.
It was never considered of any significance or importance. And it was nitrate film. So it was just left to deteriorate.
But 3D rarities has the earliest existing footage, which is 1922. It's a short called Kelly's plastic con pictures, which has some amazing footage of Washington DC and New York City circa 1922.
You've got World War One soldiers marching after returning home from war. You've got civil war veterans honoring some of their dead. It's it's remarkable footage that's thanks to 3D is a real time capsule.
And it's the closest thing any of us are going to get to being there. Right.
We found that real of nitrate film at the Library of Congress in 2006. And it was found by Jack Fexton, one of our associate researchers.
And it was beginning to deteriorate because nitrate film is not stable. And we rescued it just in time. We did an optical restoration on film then.
And about eight years later, when we began putting 3D rarities together, we went back to the original and did even more restoration on it. So it looks better now than it has in almost a hundred years.
What is the most recent footage in this?
In the set would be the Casper the Ghost, which was produced in the summer of 1953 and released in January of 1954. And that was one of about seven 3D cartoons produced in that 1952-53 era.
A fabulous cartoon, a lot of money was spent on it, almost double the cost of a normal cartoon. And it really shows on screen. It's it's technicolor, it's wide screen and it's 3D. And it hasn't been seen in 62 years. So we're real thrilled to that as part of rarities as well.
And if you want to see it on a big screen right here at the Angelica tomorrow, 145.
Yes, sir.
And that's going to be in Angelica 3. It's a good house. And we were actually in it last night for the Monty Python documentary.
Oh, good. That's a good, that's a good size auditorium. We're here a lot. We do a lot of screenings here, yeah.
I think they, I think they're pretty much have asked us to buy stock in the company.
They're going to be all psyched.
Rooms and cats in the back for us.
And you know, what was going to ask you a question.
Please do one. You said you were familiar with the work that we've done. Have you covered a couple of other releases of ours?
No, I know that Don had seen the 3D rarities. We haven't gotten a chance to watch it yet.
We've been, time has not been my phone for the last month. But I'm very interested because I love, I love the history of 3D.
I mean, I remember when I was a kid growing up in the 80s, you know, when the 3D boom happened again in the mid 80s.
I remember there was a cartoon star chaser.
The legend of Jiren's.
No, that was, that was metal storm. The destruction of Jiren's sin.
That was where the guy had the whip and the whip came out of the screen.
Yeah, I was like, whoa, this is the coolest thing I've ever seen.
I've always been fascinated by 3D.
Because of, first of all, the technique it takes to do it.
And to know that it goes back so far, I remember, you know, walking down Main Street at Disney World and going into the, to the, the Penny Arcade, which sadly is gone.
But you'd have the, the deal where you'd look in there and you, you'd turn the deal and you'd have the 3D images that would come up.
Of course, you know, being a kid, of course, in the 80s, View Master owned my life.
Oh, absolutely. For years. And the fact that you've been able to curate all these things.
Was this more of a passion project or was it kind of just, was just kind of happened?
I mean, what brought you to want to do this?
I began my 3D work over 40 years ago because I, as a kid, I was fascinated by it.
And in the early and mid 70s, there was no way to see these films.
I could read about them.
And I wanted to see things like House of Wax and Creature from the Black O'Gone and even Robot Monster.
But I wasn't going to see them in 3D at that time.
Right.
And I began working in the late 70s in New York City in the Repertory scene.
And I worked at the H3 Playhouse when we brought in the New York premiere of Hitchcock's Style and For Murder.
And we tried to book a print of it came from Outer Space that had played just a year earlier at another legendary rep house called The Failure.
And the booker at Universal told us, well, we don't have that print any longer.
It was a left-right original dual strip from 1953.
He said, however, we have a brand new print.
And you don't need special equipment for this.
You can run it with just red and green glasses.
And I said, no, that's not going to work.
Because what a lot of people don't realize, all of the Golden Age 3D features were originally shown in polarized 3D.
Which is very similar to the process used today.
It's a discrete left-right image.
And it's very high quality.
The Anaglyph was created as kind of a cheap, you don't need special equipment or special screen so any theater could show it.
Right.
But it's a pale imitation of the real image.
And that was devastating to find that this beautiful print was jumped so that they could book it in Anaglyph.
So I began, I started to get the idea that the studios were not being terribly proactive about keeping their prints intact and making them available.
So I started looking.
Collectors, archives, museums, theaters.
I began building this collection.
And I moved to California in 1984 to work for Jerry Lewis.
Oh wow.
And Jerry's name opened a lot of doors.
So I was able to get into more vaults and labs and find things that were lost.
And in fact, one of the shorts and rarities that a lot of people have mentioned as their favorite and probably the most interesting is called Doomtown.
It was a short done on the atomic bomb testing in Yaka Flats, Nevada in March of 1953.
They had gotten full government sanctioned to do the short.
But the writer, a gentleman who's still alive at 98, his name is Gerald Schnitzer.
He basically took the script that he wrote that the government said, well, you can't say all these things.
And they made all these changes.
And he just ignored what they wrote.
And he shot the film that he wanted to shoot.
And it doesn't paint a very optimistic picture of atomic energy and the dangers of such things.
So the film only had a few play dates and then got pulled out of circulation and was lost.
Flash forward to about 1985 and I'm in a lab in Hollywood on behalf of Jerry Lewis looking for his material.
And I see on a shelf Doomtown and it's labeled left and then I see another one labeled right.
Oh wow.
Oh my gosh.
And it was material that was orphaned that would have eventually been destroyed or junked.
That's Providence right there.
It was amazing.
It was really being in the right place at the right time.
So yeah, we rescued that and a lot of other shorts and rarities were sort of on the verge of destruction when we got into save them.
So it just was something that needed to be done because no one else was doing it.
And you're releasing it on Blu-ray which is amazing because people that you can really preserve this stuff digitally.
But I have to ask you the question.
You had to have been asked a million times because I have to know the answer.
Do you go to them now or do you kind of look at the current crop and the current technology and go?
It's kind of not the same.
I don't think a lot of the new filmmakers are very timid when it comes to 3D now.
I'm not talking about the gimmicky stuff, the throwing of things.
That was not done that much in the 1950s.
That was really kind of a 1970s and 80s.
It was.
Remember coming at you.
Well, Jaws 3D in front of the 13th part.
3D.
You can't look at my mind.
If it wasn't nailed down, they threw it.
Right.
Any excuse to dangle something right in front of the camera was always.
The only ones ironically, the only ones who really did that in 1953 were the three stooges.
If you ever see their 2, 3D shorts.
I'm a stooged nut.
What's going to say?
Once Curly was gone, I kind of lost interest.
You did, but it's like those 3 even, even whenever Shimp took over, I was kind of, yeah.
My dad was a Shimp guy.
I've always been a Curly guy.
Yeah.
Well, I'm still looking for the Joe Besser guy.
Good luck.
Yeah.
But no, 1950s approached the 3D and you'll see it in the shorts and rarities from that period.
It is more the idea of putting you on the set, you know, you're part of the action.
They weren't trying to assault the audience with every possible object.
So I think the new filmmakers in that respect are to be commended for not overdoing the gimmicks.
What I do find to be a problem though is they are so conservative in their 3D image.
A lot of people call it two and a half days.
You can take off the glasses and the image hardly has any separation.
Right.
And if you move your head too far, you get the separation too, I've noticed.
Like we saw the Martian in 3D last week.
And if I turn my head a little bit too far to the right or a little bit too far to the left,
you could see the separation.
You had to kind of be dead on it.
Which I'll tell you that the 3D in the Martian was amazing.
It looked gorgeous.
But I'd wonder, you know, there's that nostalgia for this.
And I was wondering, do you see it like that?
Or do you just kind of go, it's okay.
I wish they took more chances with it.
But that's just the mindset.
I think everybody is so afraid of one person out of 10,000 getting a headache.
That they don't want to take any chance and really give it a deep image.
The nice thing about what you'll see in 3D rarities and really any of the golden age stuff.
And there's titles on blue right now like Kiss Me Kate and House of Blacks and Inferno,
which is a fabulous film war.
You're seeing an image photograph with two cameras that are effectively about two and a half inches separated.
So you're getting a left and right of you very close to what your eyes would say.
And for the kids, we're not talking about the House of Acts with Paris Hilton.
We're talking about the real one, the good one.
I wasn't even going to bring it up.
I'm putting it out there.
So the website flickerallie.com.
flickerallie.com if you'd like to get the Blu-ray.
If you'd like to know more about what we do with 3D Restoration and some of our future projects,
it's 3dfilmarchive.com.
And we have a new release through Kenel Lorber Studio Classics next month.
It's a movie called The Mask.
It was the first Canadian horror film.
Really?
In 1961.
Up your alley, sir.
Yes it is.
And Julian Rothman produced it.
It's an interesting story about an ancient Aztec mask that when the person puts it on in the film,
you put on your 3D glasses.
Oh really?
And you're taken into this bizarre nightmare surreal world.
Based on designs by Spof Kovorkovich who did some of the great montage sequences in the 20s and 30s.
Wow.
And it's quite a remarkable film.
And we restored that with TIFF in Canada.
We just had our world premiere in Toronto International Film Festival.
That's right.
And we just had our premiere in LA.
And it'll be on Blu-ray November 24th.
So for this one, for 3D rarities tomorrow,
here at the Angelica in Theatre 3 at 145 Q&A afterwards, I'm sure.
Yes, I'll do a little introduction and then take any questions anyone has.
So I'll be happy to answer them.
Well, thank you for spending some time with us.
We're going to let you enjoy the festival.
Bob Furmanek, the guy that did 3D rarities, Don saw it and he loved it.
Come check it out tomorrow.
Thank you so much, sir.
Thank you gentlemen.
Always an honor.
You're also the Clubhouse Podcast.
We are live at Dallas Video Fest 28th.
Third year in a row, sir.
I believe that's a streak.
We are season vets now.
I wouldn't say we're seasons.
I'll go in here.
I'll say it.
And the hits keep coming.
We are now in L3.
Joining us right now,
because it all comes back to our longest guest of the evening.
Victor Torres, acoustic, guitarist, vocalist.
Going to be doing a little something for a little something we like to call
Ain't It Cool with Harry Nose or Don.
What's up, what's up, what's up, what's up, what's up, what's up.
Oh, yeah.
Hold on, go ahead.
Yes, friends from Germany is going to wake up on this thing.
Oh, okay.
Very nice.
I mean, we're on right now all over the world.
Just kind of hanging out tonight getting ready for tomorrow.
Yeah, exactly.
I came here for picking up some passes.
What not?
Just want to take a look at the venue and all that stuff and see how big the festival was.
Are you coming up from Austin as well?
I'm actually not from Austin.
I mean, here in the DFW.
Oh, okay.
So, the first time at the Angelica then.
Yeah, exactly.
Coming and checking out.
In Angelica, there's many of them around the country.
They just opened up one in California.
A friend of the show, Lindsay Wallace, who's actually moved from Dallas to California.
She's opened that one up there.
She's working out there.
It's a beautiful facility.
It really is.
Indeed, indeed it is.
Well, I never knew that this was here.
I play a lot of gigs around here in Dallas and what not.
I play like poor David's pub.
Big fan of poor David's pub.
Yeah, exactly.
In a long time.
But I remember when it was on Lower Greenville.
Before it is where it was now.
Many, many years ago.
And yes, I am that old.
Man, their sound is great.
I go there and I play a lot.
I also play opening bell coffee house.
And these are some of the greatest places to play here in Dallas.
And so I go around there.
But I never knew that Angelica was here.
And a lot of great films showing at the Angelica.
You're coming to video fest or not.
The Angelica does do a lot of great films that you may not see in other places.
They kind of, they, they have that perfect blend of mainstream and not mainstream.
For instance, right now they're showing the walk.
Which is got a lot of talk.
Joseph Gordon-Levitt also on the other end of that spectrum.
A film that Chad saw recently that I will not watch.
Good night, mommy.
Which is a German horror film.
Which I'm just out.
At that point.
You lose me at horror.
I'm just piece.
I'm piece.
I don't want to.
I find it hard to pay somebody to make me want to pee on myself.
You know what I mean?
Exactly.
But you love roller coasters.
But that's different.
They're not trying to scare me.
They're just trying to help me enjoy things that go very fast.
They're trying to scare you.
No, it's not the same.
It doesn't scare me.
I enjoy it.
It's fun.
Let me just why would you willingly go?
You're going to a place.
And it's like, I'm going to just get scared.
Now I can't sleep for a whole week.
This is, you know.
Exactly.
This guy over here.
I mean, I met him working at a haunted house.
So it's indeed.
Oh, wow.
Look at that.
Yeah.
So let's talk about what you've got going on.
You're going to be opening tomorrow night.
Exactly.
For the day in a cool with Harry Noes.
How long are you going to get to play?
So I'm going to play about a good 15 minutes.
I have a couple songs that I'm going to play.
I have two songs.
But they're pretty decent line songs.
It's like a six minute one.
And then I have another one.
It's like four minutes.
It's the first one's going to be like a funk type of thing.
Now you're in my wheelhouse.
Exactly.
That would be our wheelhouse, sir.
Woo.
But yeah, as a songwriter, as a solo singer songwriter,
I perform with some pedals and whatnot.
So I try to like alter up my voice.
The beauty of a loop station.
Exactly.
So I try to alter it up and make it dense with harmonies and whatnot.
So that's going to be like the funk first song.
Okay.
And the next song is going to be kind of like a chill Simon and Garfunkel.
Very nice.
A type of song.
So I mean, there's there's some resemblance to Simon and Garfunkel,
a pal McCartney and a little bit of Inkibus in there.
I don't know if you guys know that.
I'm a fan of Inkibus.
So it's kind of like a really big genre fusion right there.
So that's what that's what I'm doing.
So how did you get involved with video fest?
Well, actually, I'm a UTA student.
So I go to University of Texas and I'm studying audio engineering there.
And I'm also a singer songwriter doing that there.
And I got an email from Bart Vise, actually, who's kind of like...
It's good people.
Yeah, exactly.
He's heading this thing.
And I'm amazing human being.
And he, you know, he reached out.
He sent an email to like all the performers over there at UT.
And I just went ahead and I responded.
And then he sent me your stuff and now I'm here.
Oh, outstanding.
So this would be your first interaction with everybody on this level as well.
Looking through the media guides and things like that.
Anything that you're interested in seeing while you're here?
Well, I mean, there's a number of things I want to take a look at.
I mean, first of all, you know, definitely for the one that I'm opening up for.
Oh, absolutely.
That's going to be amazing.
But I was also a backup singer for the Rolling Stones.
I actually did a backup vocals for Mick Jagger.
Very nice.
At the recent concert here in the area.
I wish I could have gone to that show.
The pictures I saw, the people were obviously jealous.
He was a factor.
Let's just put it that way.
It's beautiful.
Let me tell you.
Just seeing them.
Which song did you get to backup on?
I can't always get what you want.
Oh, great song.
Yeah, exactly.
How do you say stones and not say great song?
Yeah, it's just, it's nuts.
And you always wonder like with a band like that or, you know, you too or whoever.
How do you pick a set list?
With, you know, these guys have been around for 50 years.
Like, how do you pick a set list and go?
This is the one.
You know, just like, you know, there's no matter what you do, there's going to be people
like, oh, why didn't you play this?
I was like, look, I had two hours.
Yeah, I know.
I could only do with this many songs.
But, they're exciting for you to be here.
Oh, yeah, exactly.
I mean, there's, I mean, there's a lot of shows I want to, I want to see.
And a lot of, I mean, there's, there's, yeah, the Rolling Stones, the Windsett Scatter,
I want to take a look at it.
In fact, some of my friends are involved in some of the films.
Oh, cool.
So, yeah, I like to take a look at some of those as well.
So, just the list keeps on going on and on.
Sweet.
So, you'll be playing a couple of songs tomorrow night before acoustic with the pedals, of course.
Yes, exactly.
I'm actually, I'm a vocalist for a band.
I know, I know my guitarist does use a loop station as well.
Oh, that's awesome.
Loop stations are cool, but man the learning curve on those things.
I mean, it's, but when you get it, when you get it, it sounds amazing.
I actually saw a guy by the name of Joshua Wilson do that live on stage here recently.
And it's just amazing what can be done.
And with as fast as the technology is moving.
Well, yeah, exactly.
Like with what we have as individual singer songwriters have so much tools to their advantage,
like loop stations, you have harmonies, you have pads,
you have all these different things that you can purchase and whatnot into and incorporate into your shows.
And it just gives a better all around musical experience for any audience member.
Like any age too.
I mean, like that you can just bridge the gap with all that new technology.
It's amazing.
You just bring your computer and also you can work with digital audio workstations at the same time.
And it's, it's a lot of what we do is we just, you know, we use a lot of that technology
where you don't have to be in the big 90 track studios anymore.
You can, you can self-produce and, you know, the only thing that really kind of gets me right now from, from,
it just entertainment in general.
And it's something I've really learned since I've bought my Xbox One is,
if I want to download something, it shouldn't cost me as much as it cost me to go buy it in the store.
Exactly.
You know, why am I paying $30 for a game that I'm downloading and taking a hard drive space when I can pay the same amount and I have it on a disc?
Yeah.
And that's always been kind of my sticking point, but I think digital music has really started to kind of level that a little bit.
Where, you know, I was a DJ for 21 years.
And I'm from the time where I had to go buy an entire album for one song.
And I think we're now getting to that point where I can buy that one song.
And then I can build from there.
And I think as artists, it helps us to gauge, you know, what do our audiences want to hear?
So we can, we can make, we can level that a little bit more well.
So we can make a more complete album to be able to market as well.
Exactly. Like the game has changed, especially like with, you're talking about albums, like people used to purchase albums.
Absolutely.
People are now only purchasing singles.
They're going on iTunes or purchasing like those individual songs.
And you can release them quicker too.
Yeah, exactly.
You know, we're, you know, we're, okay, we're going to do some of my single.
My album comes out in three months.
Now, now you can say, look, this is the first thing that's going to be out there.
You can get it now.
Start getting it circulated.
So by the time your album's done, you can just get it right back out there.
And if you market it right, you can do it where there's, you don't lose that relevancy.
And I think that's such a huge, just in the last 15 years, how that's really, really become a thing.
Well, there's a lot of different tactics you can also use.
Like, you, you, like, for instance, what I'm going to start doing on my website.
PictureTouristMusic.com.
So the shameless self-promotion.
We're all about it.
Exactly.
We've made a podcast career out of it.
What you can do is you'll like release an acoustic song.
Like what I'm going to start doing is releasing like acoustic versions of my song.
And then I'll be like, oh, hey, well, here's the full band version.
Here's the techno version.
So on so forth.
And with technology, you have all those different things.
And fans and audience members want to hear all those different ideas.
Like what's going through the artist's head to like actually change the song.
And it's tangible quicker.
Yes.
Where it's like, you know what?
I wake up one day and I go, you know what?
I love the song.
Yeah, it's like where there's a song that we're working on right now in my band.
Where we realize that it's better acoustic than it is electric.
So it's like, you know what?
Why don't we just do the acoustic version?
Get it out there.
And then if we want to tweak it down the road, we can just do it.
You know, we have a demo version.
And then you have your version too or whatever.
But you can get it out there for the masses and find out, hey,
we like this version or we don't like this version or what if you did this with it.
And then you can just go back and do that.
You don't have to go way back into the studio and bring everybody in and do all that as well.
Well, the cool thing about that is like what you just mentioned.
What you're kind of hitting at is you have niches.
You have niches.
You have people who are like, you know, I have fans who are like, I like acoustic music.
I'm like, okay, here's my acoustic music.
But then I have another guy over here who's like, you know, I like the full sound.
I like the harmonies.
I like the band.
I like the drums.
Well, it's like, okay, here's this song.
That's, here's the same exact song.
And here's all that.
And so with technology and with all the options that we have today,
we can satisfy each individual.
Absolutely.
And it's kind of more fun.
Yeah, exactly.
You get to tweak, again, you get to tweak it and get it out there quicker.
But it doesn't take a full, like it's not literally a production.
You know, like, I'm just tweaking around with stuff one day.
You know, let's see what if I do this.
Okay, I'll throw that out there.
I'll put up a YouTube video of it.
Or, you know, I'll just put it out there on my website
and people can download it for free and check it out.
I just, I love where the industry is right now.
Well, it's perfect.
It's the best time to be a musician, to be a songwriter,
to be, like, anywhere in this industry.
Like, it's with the internet, with everything that we have.
And we need more musicians.
Yes.
Be musicians.
I don't kill the auto tune.
Be musicians.
Kill the auto tune.
You know, it's just.
Amen to that.
I love going to a concert and knowing I'm going to get a band.
Well, I mean, don't, well, let's not dock Melodyne, though.
It produces some really great things.
In some cases, but I'm also, as we mentioned earlier,
I'm a man of a certain age.
You can, though.
And I'm at that, these kids with the clothes and the hair point in my life.
And there's some good stuff out there that I like.
But a lot of it is getting so overproduced.
Let's take it back to that place where it's you and a microphone
and something recording.
And it works or it doesn't.
And if it doesn't work, you tweak it a little bit and make it work.
You don't actually process it to a point that it's unrecognizable.
Yeah, don't make auto tune.
That's what crushes me.
Don't use it as a crutch.
Play with it every once in a while.
And I think there are certain people that use it well.
And because they know they're having fun with it.
Yeah.
But when it becomes your entire album, then I have a problem.
Because musicians need to be let musicians.
And it's also been my argument of you build an $8 million athletic facility
but you want to cut the arts.
And that kills me.
I know.
It kills me because kids like me, where I was a tiny,
a little bit of a guy, band was my outlet.
That's what that was my thing.
And if you take away that thing for kids that were like me at that age,
they don't know what to do.
They don't go out.
They don't actually be able to learn how to express themselves.
Absolutely.
I mean, choir was my thing.
I've always been a singer.
Same here.
Yeah, so you understand.
Ever since I was younger.
To cut the arts is to cut out the soul of the society.
I agree.
I mean, I remember writing papers about this to different officials talking about
like who want to cut the arts.
And I was like, this is ridiculous.
You're cutting out soul.
You're cutting out culture.
You're cutting out so much of being a human.
And some of my closest friends to this day are people I met through being in band.
Exactly.
Same here.
You know, we were choir and theater my best friends.
We were in that thing together.
But it's just, and another thing is,
in being a university student, studying music.
I mean, I'm a classically trained vocalist.
And I had to really grind my gears to be able to play music, to do the things I do.
And people think like, oh, it's a hobby.
No, no, it's a passion.
It's a passion.
It's like there's so much stuff in that.
If you do it right, it's an obsession.
Oh, yeah.
If you want to tinker around,
hey, God bless you.
More power to you.
Exactly.
But for people like you and myself and Chad,
those of us that are still in it,
like every waking moment of my life,
every breath I take, I'm thinking about music.
And I'm obsessing about music, because that's who I am.
Well, it's a blessing.
And it's a huge blessing.
It's also, at first, at the same time,
I really feel like God put that on my heart.
You're like, hey, you know what?
This is, you're great at music.
And, you know, you're going to,
but what you're going to do is you're going to be up late at night,
always writing songs.
Because that's what I require of you.
Exactly.
Because, I mean, it's only the best.
Like, when it comes to music,
and they're like cutting the arts,
like, they don't realize how much it takes to be the best in music.
And to put the best in music out there.
I mean, there's so much hours in the practice room techniques.
I mean, you have a lot of vocalists and singers
coming out of, like, the woodwork and whatnot.
And people who, like, think they can sing and whatnot.
But they don't realize, like, it's just,
there's so much work that goes into it.
And people want to cut that.
And they don't see it, like, the passion.
They don't see what comes of it, like,
what's the longevity of someone's life,
how they feel, like, successfully, as a musician or whatnot,
or, like, it's not necessarily limited in the musician.
An audio engineer.
Someone who wants to listen to music and edit
and put together, like, the movies or whatnot.
There's so much stuff that music dives into.
And they want to cut that.
I mean, you're cutting your commercials.
You're cutting your movies.
You're cutting everything.
Like, sound is huge.
And it's just your performers for jingles.
I mean, there's so much stuff that music touches.
Absolutely.
I'm literally trying to cut that.
All right, so let's do shameless plugs.
Social media websites.
Everything you got going on.
So, yeah, just like I was saying,
you can visit me at www.victorresmusic.com.
I have a, currently, it's going under through some maintenance,
but you see, like, a lot of pictures of places that I performed at.
You'll get some samples of music that I've also recorded
at these different places as well.
You can also visit me on Facebook at Victor Torres Music.
As well, you can follow me there.
You can also follow me on Instagram, Victor Torres Music.
It's all the same thing.
So, you just type it in once, and you can just find me there.
Outstanding.
And you're going to be playing tomorrow night.
Yeah.
I'm going to be playing for Ain't a Cool With Harry Knowles.
Victor Torres, thank you so much.
We're going to let you and you go enjoy your evening.
Thank you for joining us.
We appreciate it.
Take a look around.
And we're going to try, maybe we'll try to catch
at the end of the weekend as well.
Yep, coming out.
All right.
All right, we all right.
Take care.
Sweet.
Ooh, I need to take a breath, sir.
And while we're talking about music,
I am in a shameless plug for just a minute, if I may.
Tomorrow morning, if you are inclined to do so from 11 to two,
Grace D is going to be out in both springs,
playing out of Fall Festival.
I don't think we're going to be playing all three hours,
all three hours, but we'll probably be playing about an hour.
Who'd be dead on your feet if you try that?
Yeah, we've done it before.
We'll do it again.
So this is our fourth weekend in a row playing.
So I think that's a record for us, which is good news.
And don't be surprised if you don't hear some studio work
coming out of us here.
We have like a couple of months.
Yeah, yeah, yeah, there's strong rumors
that we may be getting some studio work done here next month.
Do you want to remind you we're going to be back here
at the Angelica on Sunday afternoon?
Because Dallas, if it's 28, is not just starting.
This thing is in full swing, brother.
And it's going to be all day tomorrow and all day Sunday.
What you got to go to it over there.
Oh, I'm just trying to find his social media stuff.
OK, fair.
So I prepared on our web, on our Facebook.
All right, I am going to pull out the world's famous iPad
so that we can talk some headlines.
We'll cover some of this tonight.
We'll cover more of it on Sunday.
I am sure, because we've got a little bit of breathing room.
Hopefully, I mean, we're at the hour, two hour, 23 minute
mark.
So I'm not sure how much more we're going to need to do.
And Don's out running around somewhere.
So we've got to find out what's going on there.
Let's go ahead and do some music headlines, shall we?
OK.
A Drake, who I know you're not a huge fan of,
but his album, if you're reading this, it's too late,
is now officially the best-selling digital album of the year.
I feel so much better knowing that.
Well, you know, I mean, the kids got skills.
I like his stuff.
I mean, I can't say I know every song he's ever recorded,
but I like the stuff that I've heard.
Yeah, that Mr. this started from the bottom now we're here,
and it's total.
Come on.
I start at the bottom.
I'm still at the bottom.
So speaking of number one's, Jackson's latest album,
going to be her eighth number one album of her career
when the Billboard charts hit this week.
And I've yet to listen to it all the way through.
You know about halfway through, but from what I've heard,
I've really liked.
Any specific tracks to stick out on your mind?
You were totally put me on the spot here.
Just the title track, Unbreakable, what it opens with.
Oh, it's the opening track on the album?
Oh, shoot.
She's got a couple of versions of, I think it's so deep.
That's really, really good, but I prefer the one
that doesn't feature the wrapping on it.
Which is not go deep, because that's the difference.
I like that song a lot.
Also, in news that I think it's going to kind of bum you
out a little bit, I don't know if it will or not.
But we find out through his publicist this week
that David Bowie's done touring.
I'm surprised he's been touring as long as he has.
But he has officially said his publicist
has said he is not taking any more dates
than he has retired from touring.
I don't know what that says about any of his studio work.
But I'm a Bowie fan, except when Garmin's doing his Bowie,
because it kind of wears me down.
But also, James Hetfield says Metallica is recording
their new album.
It's going to be out next year.
They're not giving any details, but they are working on it.
Also a brand new album coming from Gorillas.
Really?
They are back in the studio.
I thought they just did one recently, which I thought
was weird, because we had her from them in so long.
But yeah, that was the big deal.
They're working on some more new material.
But when we're talking about music, new releases this week,
I know you've got this reserved.
I want to mind you, just going to go pick this up on Friday.
Here we go.
The album is called Sounds Good Feels Good
from the five seconds of summer.
Why?
Just why?
Because I can.
Also, the Carrie Underwood has a brand new album coming out
next Friday called Storyteller.
I don't know if that's a VH1 thing,
or if she had to pay royalties for that or not.
Rod Stewart, new album this coming week called Another Country.
I don't know if that means he's doing country covers,
because that seems to be what he's doing now.
Pretty much.
Vanessa Carlton, really?
Has a brand new album called The Lieberman.
I don't know.
I don't think it's about my friend Mark from Florida,
but I'm not for sure, or the Senator from Florida
that constantly made it.
And I'm kind of buried this last one a little bit,
because I think you're going to be interested.
If I say Soul Savers, does that mean anything to you?
Soul Savers?
Soul Savers, one word.
Is it an evangelical group?
New.
The album is called Angels and Ghosts,
and they are fronted by one Dave Cajan.
Oh, that's right.
Man, that just got right past me.
I saw that post on Facebook yesterday.
I wasn't sure if you were aware of that,
so I wanted to make sure you were aware of it.
Yes, I was.
Don has rejoined us at the table.
We were saving the best for last tonight.
Alrighty.
Let's get on it.
Don, don't go ahead.
It's like we all went, okay.
So who's going to do this?
I'll let you do it, Rob.
Joining us right now tomorrow's going to be a big day.
Yes, it is.
Because there's a lot going on.
But joining us right now is David Pierce,
author of the book Dawn of Technicolor.
You had me at Technicolor.
That's all I'm saying.
Welcome to the show, sir.
Well, thanks so much.
Oh, talk right into that.
Talk right into it, everybody.
I'll be happy to be here.
Technicolor has been that thing for me, too.
So all the movies that you go to,
it says color by Technicolor,
the college is jumps off the screen at you.
And my co-author and I wondered,
well, how did Technicolor get to be the name for color
in motion pictures?
And the part of the story that interested us
was the first 20 years of Technicolor.
This is 2015, it's the 100th anniversary
of the Technicolor company.
Wanted to take them 20 years
until they got to a full color process.
And that's what we're exploring in the book
is the first 20 years of the company,
all the exploration, all the research and development
they had to do, all the fault starts,
all of the movies and two color Technicolor.
Have you seen movies and two color Technicolor before?
You know what, I want to say that I have.
My brain's a little fried at this point
as we've been doing this now for almost two and a half hours.
So we're used to Technicolor from Wizard of Oz,
go on with the wind, singing in the rain,
all of the golden age Hollywood films.
But originally Technicolor was a two color process
because they couldn't get three colors,
they had to do two colors as the first step.
And it was primarily orangey reds
and greenish colors, which combined,
gave you a really nice flesh tone
and gave you this very strange illusion of color.
But there were no purples, there were no yellows,
and it's like an other world-week kind of color
where after a while you don't notice
that anything's missing,
but it's kind of jarring for a modern audience to start with.
Technicolor started with some MIT professors,
and they thought that they could crack the problem
of motion pictures in color,
and that whoever did it first would become incredibly rich.
They were right about that part.
They and their investors were incredibly successful,
but it took them much longer to get to that point
than they expected.
So the first 20 years of the Technicolor company,
they only made money two of those years.
So the founder had a Technicolor
was a man named Herbert T. Calmas.
He may be familiar with Natalie Calmas,
who was the color designer, that was his wife, X-White.
And he was the Steve Jobs of his day.
He could go to the investors and he could tell them,
you know, this is gonna be great.
He could work with the technical people
to get a commercially viable process,
and then he could go to the motion picture studios
and say this is well worth the extra cost.
And that's what we're gonna explore at the Dallas Video Fest.
Tomorrow.
Tomorrow.
And we're gonna look at one little slice of it,
which is, I think, the most fun part of it.
When sound came to Hollywood in 1929, color came too.
And it came with musicals.
So there was dozens of Technicolor musicals
made in 1929 and 1930.
And that's what we're gonna be looking at.
And that's tomorrow at four p.m.
It's gonna be an auditorium three.
Which we've talked a lot about auditorium three today.
It's a hot place.
It's a great auditorium.
We actually were there last night
and saw the Monipiphone Direct documentary,
which was an auditorium three is a really good size auditorium
because it holds a good amount of people,
but not too much that you're like,
it's feel like you're screaming up into the rafters.
So I'm immersed in Technicolor, as you might imagine.
But I pulled out all of the good stories,
all of the, you know, funny bits and clips
from original Technicolor prints
that were found at archives around the world
that we've had digitized.
So we've got things from the British Film Institute,
George Eastman House, UCLA,
that'll be part of the presentation.
Things that have never been on television.
Are you, I'm assuming you're gonna have the book
with you to sell as well?
Actually, they're having,
they told people to buy it on Amazon and burn it.
Okay, good.
Is it available for Kindle Download as well?
No, no, it's just a hard copy book.
Yeah, it's a big coffee table book.
Oh, and this price is $65, but on Amazon,
it's about $42, and it's a,
you get a lot for your money.
How long did it take you to put it all together?
It was about two and a half years.
Oh, wow.
But we knew that we had a hard deadline in 2015
because of the 100th anniversary.
So we were kind of working around the clock about that.
Yeah.
Any plans of any documentary work for it,
or as you're just gonna kind of let the book stand on its own?
Well, what we've done of these live presentations out of it.
So far, we have two live presentations
that we presented at different places,
but we presented at the Museum of Modern Art,
the London Film Festival, the Berlin Film Festival.
We were in Los Angeles at a technical conference in August.
We've been at all sorts of collector shows,
like the Capital Fest and Sinifest,
and presenting to people who really immersed
in silent films and sound films.
But the presentation is designed for general audience,
and it has a lot of really fun clips from movies
which people have never seen
because there were no color prints available.
Oh, wow.
And we've turned down the color prints
and gotten them digitized just this week.
Hard drive arrived in the mail
from the UCLA Film and Television Archive
with three clips that we're gonna be showing
off of their preservation copies.
How long does the presentation gonna run?
90 minutes.
Oh, very nice.
Any favorite stories you wanna share with our listeners
that either A, did the bacon into the presentation
or maybe they can look forward to tomorrow?
Well, I think the big thing is that nobody knew.
First, they didn't know what a musical was gonna be, right?
Fair enough.
In silent movies, you've got gangster movies,
you've got action movies, you've got Westerns,
you've got romance, all that.
All those made it directly into sound films,
but there are no silent musicals.
Fair enough.
So when sound came in, they were experimenting.
What is a musical gonna be like?
And they've made operettas.
We're not gonna show you operettas.
They made backstage musicals.
They made the kind of musicals, you know,
with Broadway shows, with stories and plots.
They made reviews.
They were just all musical numbers.
Because nobody knew what was gonna work.
And we're gonna show some of the fault starts.
Fair enough.
Which are very, very staging.
And then we're gonna end with a clip from Follow Through,
which is 1930 Paramount Musical,
which has never been on television, never been on TCM.
And you see that it took him about a year
to figure out what a musical should be,
but once they nailed it, it's fantastic.
All right.
So here comes the curve ball question for you.
The one film that you got a hold of
that you didn't think you were ever going to get a hold of.
Okay.
One of the quirks of this time was that the studios
were making these all-star reviews.
So they took their leading actors,
most of whom had actors,
most duet med stage experience.
And they put together kind of like a compilation film.
So you had Claribo doing the musical number,
you know, that sort of thing.
And almost like a variety show.
Exactly.
See your favorite stars talk.
See your favorite stars sing a song.
And Warner Brothers put together one called Show of Shows,
which was made in almost all color,
and only survives in black and white.
And we found the big musical number right before the
intermission in technicality.
Wow.
Minus the sound.
So did you have to go back by the other one and sink the sound up?
Yeah, then we found the sound on records
because it was a sound on disk process and sink them up.
So we're going to be showing a big musical number called Sisters,
which is a bunch of sister acts who were movie stars,
who happened to be sisters,
talking, presenting a big splashy musical number
with about a hundred different dancers on stage.
Wow.
And that was the big find.
And we found that at the British Film Institute
and got it digitized for our shows.
Now let me tell you something, kids.
If you want an education in film, this is the presentation.
Because I think a lot of people we don't take enough time,
especially with these younger generations,
to really show them the history.
There's like, we didn't just show up here.
There's a lot that went through in the last almost hundred
years that had to get us to where we are.
And where we are is the color is natural.
Black and white is the abnormal thing, right?
But it was a lot easier to make films in film stock
in black and white than it turned out to be to make it in color.
And they used a really convoluted process
to get color on the screen, but it worked.
And then what kind of movies were they going to make?
And we're just looking at the musicals tomorrow.
OK.
So you say we're just looking at the musicals,
but the book actually covers more.
The full genres?
Yeah, the book covers the whole thing.
It's like a technical history, but not
too technical about technical color.
And then it's a business history of the company
and about the people who worked on it, worked at technical color.
And then it's about the films that they made,
like the Black Pirate, the Douglas Fairbank Senior,
the big budget pirate film, the mysterious island,
based on the Jewels Verne film, was made in 1929,
all the way up to the introduction of the three color
process in 1932 with Walt Disney and Flowers and Trees,
which was the first film in the three color process.
Is there going to be any discussion about colorization?
Or OK.
So this is just focusing on the technical result.
I want to make sure that our listeners understand
what they're in for.
But if you've ever seen Singing in the Rain,
it presents a story of how they made musicals in 1929,
and we'll be seeing clips from the actual musicals
that Singing in the Rain was trying to portray,
and somewhat making fun of.
Are there any, can you name me the one clip
that you can't watch enough times?
That would probably be the tiktot through the tulips number
from Gold diggers of Broadway.
Wow.
Which was, you know, because the whole conceit is,
oh, this is just happening on a stage, right?
But they open it up from the stage,
and it's absolutely dazzling the kind of effects
that they have in the musical number.
Any room for a follow-up book or anything of it, though?
Well, they kept making technicaler movies after 1935.
So if we did another book, we probably
would cover from 1935 to 1939 when
Gone with the Wind and Wizard of Oz came out,
because there was so much development
of the three color process in the late 30s.
So you can get the book right now, Amazon.com.
Dawn of technicaler.
My co-author is James Layton, and I'm David Pierce.
Are you doing the presentation by yourself?
I'm doing it by myself.
OK, so that's tomorrow.
I want to make sure I've got everything right here.
Tomorrow or to go, there it is, at 4 o'clock in the afternoon.
Any websites you want to plug social media
for the project, anything?
We have a Facebook page, Dawn of Technicaler,
which you can find.
I've got it on our Facebook page as well.
Oh, thanks.
And I've also linked your Amazon page
for the book on our Facebook page as well.
Apparently, they've only got, like, maybe 15 copies left
and stocked Amazon.com.
Nothing wrong with that, I think at all.
And this was part of a centennial of Technicaler
by George Eastman Museum.
Oh, wow.
So the founder of Eastman Code Act was George Eastman.
And his house has been turned into a museum in New York.
Nice.
And they have the Technicaler Corporate Collection,
which is what we researched in for the book.
And they also have a website about the history of Technicaler,
not just the first 20 years like the book,
but the whole history of Technicaler.
Oh, wow.
With clips and animation and lots of images
of the making of Technicaler films
and the behind the scenes of how the company worked
for many years.
Cool.
And that's exciting, too.
So that's Eastman.org slash Technicaler.
Something that you could just go and just spend a whole day
just looking at all the cool stuff.
Right, and you could write your thesis out of it.
Wow.
Because there's original documents and other things there, too.
Well, thank you so much for saying that.
Everybody knows the name Technicaler,
but they don't know what that name means.
And that was what we explored in the book.
And then the presentation is kind of the fun side.
OK.
Let's explore the musicals and how different musicals were made
at the time and what did color mean when it was on the screen
and hitting audiences for both musicals were new
and musicals in color were new.
Mr. Pierce, thank you so much for sitting down with us.
I can't take it.
So Maraud Four, we appreciate your time, sir.
All right.
Don, how are you feeling, brother?
Don's tired.
Don's tired.
Don's a tired puppy.
You did a great job, sir, as you always do.
No, you got it.
It's a team.
Dallas Video Fest 28, it's going on.
Don't miss anything.
Go to videofest.org.
That is the website for Dallas Video Fest.
You can find out the entire schedule.
You know, we've got the big presentation coming up Sunday
for the Ernie Cobach's award.
Very exciting times.
A lot of stuff going on.
We're going to be back here Sunday afternoon
for another live show.
Yes, we are.
And we're very excited about that.
Anything else that we need to talk about before we wrap this thing up?
I love it.
I love it.
This is a lot of fun.
We do have a lot of fun doing this.
And we want to thank everybody at Dallas Video Fest 28
for having us for the third year in a row.
Thank Kelly.
Kelly.
Thank you.
Thank you.
Thank you.
Thank you.
Thank you.
Thank you.
Thank you.
Thank you.
She's sneaking up on us.
All of the people at the Angelica.
Thank you guys for having us.
I'm pretty sure that we're going to have name tags
from the Angelica before too much longer.
Shall we do the Pludge gentlemen?
Let's do it.
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Our normal show live every Sunday at 7 East
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This Sunday, we're going to be on a little bit earlier
because we're going to be back here at the Angelica
at Mockingbird Station for Dallas Video Fest 28.
So until next time, for Don, for Chad, for the Empire,
I'm Rob.
Clubhouse is closed.
Brittany Palmer getting a reference
in an acapella child tonight.