*BONUS EPISODE* INTERVIEW: David Weiner

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Hey, it's David Weiner, writer, director, producer of the In Search of Darkness trilogy and the upcoming In Search of Darkness 90s and In Search of Tomorrow, and a guy who's constantly on eBay trying to reclaim his childhood one toy at a time.

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And you are listening to the Oblivion Bar.

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to the Oblivion Bar podcast with your host, Chris Hacker and Aaron Knowles.

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Welcome back to the Oblivion Bar podcast.

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It is I, Aaron Knowles, and I am here to interview and welcome back a really amazing guy and just great friend of the show.

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Joining us on this episode is the acclaimed documentary filmmaker of In Search of Darkness, part one, two, and three, In Search of Tomorrow, which are both extended deep dive explorations of 1980s horror and action sci-fi through the lens of the actors, directors, and crew that worked on those iconic films.

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But also coming back after our recent conversation, I believe back in February, talking about his new and just amazing step into the 90s with In Search of Darkness, 1990 to 1994, or just 90 to 94.

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It is my honor, my distinct honor, to welcome back David Weiner to the Oblivion Bar podcast.

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I am here.

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And you pronounced my name correctly.

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I love to hear that.

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Wonderful intro.

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Thank you.

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We joke.

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because that's how it all started, right?

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Yeah, it's a pleasure to be back and a pleasure to see you, Aaron.

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And happy to talk all about my my new step into a larger world of a new decade.

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I am excited as well.

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We have a bit to cover because there has been, you know, we've we've done a lot of discussions with you on the 80s, which, you know, Chris and I have talked about ad nauseam about we're just 80s babies.

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We love everything 80s.

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But the 90s for us, you're hitting our sweet spot.

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You know, you're hitting the early 90s, which, you know, more than likely, Chris and I were not supposed to be awake watching these horror films.

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We're not supposed to be, you know, sneaking into these movie theaters.

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And so we're just, you know, we're, I see the smile on your face right now.

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I'm excited to talk 90s with you.

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Absolutely.

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Yeah.

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I mean, this is an era where there was a very, very, very, very loud.

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called arms for us to move into the 90s after we did three movies in the 80s.

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And it was a question of what should we do next?

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Should we do more 80s?

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Should we go back to the 70s?

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Should we go into the 2000s?

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What exactly should we do with the In Search of Darkness films?

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And it was a cacophony.

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So many people were really, really excited about the 90s.

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And the 90s is really interesting because it's more of a challenging.

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time period coming out of the 80s, which was just a shining beacon of golden goodness when it came to horror.

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Everyone had so many amazing icons, know, Freddie and Jason and Pinhead and Michael Myers, you know, really becoming, of course, after 1978, a real big thing.

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But in the early 90s, filmmakers were trying to sort of expand their repertoire, go in different directions, reflect a grittier landscape sociopolitically, while others were like more sequels, more Freddie, more Chuckie, you know, more Tollman.

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So there's a lot going on.

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And that's all sort of collides with the advent of CGI, which really exploded, especially when people saw Jurassic Park and and Terminator 2, they said, I want that.

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So it's a really interesting decade to deconstruct and revisit and remind yourself that there was so much cool stuff that you probably forgot was even there.

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Absolutely.

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Even just watching the trailer again, because I've watched the trailer multiple times.

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I love seeing who's going to be in this iteration of In Search of Darkness.

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I love seeing the happiness on their faces, the shock, the awe, the trailers that you've included.

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I'm just so excited to see everything that gets included into this.

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And I kind of want to touch back on a couple of things that you've just said.

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And you talked about how, you know, entering the nineties, there was this desire to kind of expand the universes and kind of create new characters.

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But also it felt like there was also a lot, especially early nineties.

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It seemed to be sequels almost every year coming out.

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So it was not only the expansion into new universes, but the expansion of already existing ones.

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I think a big element of that is people, filmmakers, producers, studios, all seeing the success of if you create a horror villain or character that people really connect to, you can go sequel after sequel after sequel and...

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You don't have to spend a lot of money on these sequels and the return on your investment is usually pretty positive.

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Even if you spend a little more on a sequel, you'll still make enough money to warrant more sequels.

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And so I think there were lots of producers and filmmakers and writers who also said to them, you know, to themselves, I want to create someone for myself.

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I want a franchise.

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want, know, Chuckie's cool.

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Chuckie's is diminutive.

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You know, frightening character, but he's kind of funny too, and he's full of one liners.

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I don't know.

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Gosh.

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You know, here I am sitting in front of my Lucky Charms cereal just trying to figure out what kind of character I could come up with that would be kind of like that.

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Well, know, Leprechaun, that's what we get.

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And Candyman, of course, is a brand new character that's introduced Pennywise, although didn't become a big franchise.

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Pennywise in Stephen King's It in 1990, I think was really quite a major character that sort of set the stage of a whole new decade, especially when you took a thousand page book and you were able to successfully translate it to television, not even the movie theater.

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So there's lots to talk about.

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I mean, I can keep on going, but you asked the questions.

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It's just I end up being like a listicle of all the cool stuff that happened in the 90s.

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No, you are absolutely fine.

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Like we're, you know, we got, we brought you onto the show to hear you talk, especially about in search of darkness.

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But I feel like I'm getting ahead of myself because I want to kind of delve back into like previous conversations and why we've brought you into the past and kind of give people a, a, a peek into, you know, what you've done in the past and why it's kind of motivated you to go into the future.

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Like, you know, we've talked about how, you know, we said in your, in your intro in the introduction, excuse me.

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In Search of Darkness, part one, two and three, and then In Search of Tomorrow.

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What, you know, much like obviously entering the 90s, but what prompted, you you starting off these projects and really, again, doing these deep dives and I'm not saying this in a negative fashion at all, but these are like, you know, four to five hour documentaries that goes really deep and really involved, which is amazing because I don't...

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Nothing like this has ever been created.

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Nothing like this has really ever been done to this depth.

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Tell us the motivation behind it.

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Well, there's lots to unpack with that, Ken.

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I want to give you a very specific answer, but it takes some time.

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But ultimately, no one had done the 80s so thoroughly before.

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All the films, know, many, many horror documentaries came before us.

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Absolutely.

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But most of them were kind of the history of horror or...

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or more specific, you know, about slashers or about, you know, just certain very specific things, know, like Crystal Lake Memories was a very long film.

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You know, I think it was six hours plus on the Friday the 13th franchise.

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Never Sleep Again, that was, I think, five hours about the Nightmare on Elm Street series.

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Those two films, at least in terms of length and running time.

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Those really kind of paved the way and gave permission for me to make a long ass documentary.

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That and Ken Burns, perhaps.

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But there really wasn't in Robin Block, the CEO, creator, VC, he came up with this idea and he just said, how cool would it be if we focus in just on the 80s because it was just such an amazing, insane era of creative and wonderful filmmaking when it came to horror.

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And when he brought me on board, I fleshed it out and he wanted to do year by year, movie by movie.

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And that's what we ultimately do.

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I offered up that I said, we really need larger context with a lot of this stuff as well.

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Let's put some chapters in between each year.

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Let's see how we can cover as much as we can, even though there are there's literally hundreds and hundreds, if not over a thousand plus in the 80s alone.

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of films, whether they're studio films or shot on video, you know, straight to video films.

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But I think this was a little more manageable.

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And what we found was that people really responded to this format.

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And, you know, it goes long because the format demands it.

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And you still ironically don't get to fit in all the films you ironically.

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don't get to put in as much information as you want to or even have from interviews because you just kind of have to keep the train keeps on moving along and you got to keep up with it.

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And if you miss it, the train is going to leave without you because we're going on to the next movie, the next chapter, the next year.

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And we have a decade to cross.

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then if we're not going to do it in four and a half hours and then we upped it to five and then we kind of upped it to about five hours, 15 minutes and then.

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Robin said, please, no more, please, not so long.

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And fan said, please, more, I could watch this for 24 seven.

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And I'll just cut to the chase that the newest In Search of Darkness now that we're in the 90s, we divided into two parts.

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So we're not doing the whole decade anymore.

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We're doing, as you said, 1990 to 1994.

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By the way, pretty unwieldy title, right?

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In Search of Darkness, 1992, 1994.

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It's a real mouthful when you want to save the title.

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But of course, what comes after that, you know, In Search of Darkness 1995 to 1999.

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And that's in the works and we'll do that in a year.

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Ideally, I'll be talking to you again all about it.

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But I'm pleased to say that I kind of got my way because the format got its way and because I added some television, I added more obscure films.

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It's now a movie when you include the credits, it's almost six.

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hours.

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I'll show myself out now.

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And again, I want to make sure that nothing is taken out of context here.

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I love the fact that this is so in depth and it has the length that it does because there's too many documentaries.

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There's too many things that, know, that I've watched, especially when it goes into the horror film industry, which, you know, Chris and I recently were talking about about how our love and I don't know if it's, you know, thinking about it now, you might be the, the, the pure motivational factor behind it, but Chris and I over the last couple of years, have very much increased in our love of the horror genre.

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And I say all this because we love what you're doing and we love, you know, the In Search of Darkness, you know, franchise because of, you know, what it gives to us.

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And again, there are so many different creators.

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There's so many different actors that you get to see.

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And again, I tell people, I tell people go watch the trailer because you'll be blown away by how many people are just in the trailer alone.

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and you're going to see some amazing stuff.

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But one thing I want to kind of jump back again a little bit in time is when we last spoke, tell us where you because we were I think it was February is the last time we spoke.

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Where were you in the process of, you know, creating 90 to 94?

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And where are you now?

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Yeah, I think when we were in February of this year, I was most definitely in the middle of production.

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I was doing lots of interviews.

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I had to wait for a little while because of the Screen Actors Guild strike.

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There was a writers strike the previous summer.

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So a summer ago, in summer of 2023, into, I can't remember when it ended, but it's a bit of a blur now.

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But we ultimately waited a little bit because in solidarity with the actors and the writers and the guilds, we really wanted to not do any interviews whatsoever.

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And so I was playing catch-up and also trying to manage lots of people's schedules because a lot of actors, since they weren't working, a lot of directors, a lot of craftspersons, now all of a sudden they were super busy because work was picking up for them as well.

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So in February, I was navigating basically lots of interviews.

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The film, what I was gonna be talking about was established, it was outlined, my questions were written.

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I was in the process of doing interviews and doing outreach for more interviews.

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And that's quite a process.

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And sometimes it takes longer than other times.

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You know, it's got its challenges.

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A lot of times it's nice to have some familiar faces come back and talk about they talked about their 80s work in the trilogy.

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And now they're back talking about their 90s work.

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And that's super cool.

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You know, names like, you know, Heather Langenkamp, Alex Winter, know, Mick Garris.

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Doug Bradley, it's very cool to have these guys come back.

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Even David Desmouchian came back.

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Very, very cool.

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But I wanted to load this up with 90s faces, 90s stars, some new talking heads of who are experts, like very, very fortunate to have like Mike Flanagan, director Mike Flanagan, who, know, Dr.

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Sleep, he's a Stephen King expert with all the films that he makes and adapts.

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and his miniseries and so on and so forth.

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But he is a 90s nut.

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He grew up in that era and he was so excited and knowledgeable to share his perspective talking about that.

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And another name that leaps to mind was Kayla Cooper, the screenwriter of Megan and Malignant and the one two.

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She's written a bunch of things.

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She's got more projects coming this way.

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I think she's got Megan to the summer and a bunch of other things.

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Anyway, know, gosh, it was so cool.

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I reached out to her.

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I got an email back right away.

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Hells yeah.

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When are we going to sit down?

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You know, getting for her getting to talk about her, her upbringing, you know, with the I'm not allowed to watch horror, but I finally got to see this and now I regret it.

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And now I'm obsessed with horror because of it type of upbringing that so much of us had.

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She's she's, you know.

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front and center with that kind of stuff and was very, very excited to talk about it.

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all I could say is, I am very, very lucky that when we get these people, their enthusiasm is infectious and they sit for a long time and they really devote their time and their effort and their enthusiasm and it really makes for a lively conversation about a little more complicated time.

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So to ultimately answer your question, that's where I was in February.

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Now the movie is done, 99 % done.

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We're doing polish right now.

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I'm laying in the music, we're doing the sound mix.

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We still have yet to do the end credits because what we do is, and we'll talk about this later, but the only way to get this movie is go to 90shorror.com and it's a pre-order.

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And when the movie is complete complete, you'll get it as a digital.

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release first at the end of November.

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Then we make, manufacture, and distribute the Blu-rays so everyone can have it in their hands and have their names in the credits.

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And that's what's so cool about it is that you guys get your name in credits.

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You can put your podcast, Oblivion bar, if you so desire.

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But you can put anything you want in the end credits and be a part of horror history and get it pushed over the line so everyone can get it and...

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That's where we are.

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We're practically done.

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So I'm here telling everyone that the last day of our campaign for preorder is it's now Sunday, November 3rd.

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You have through the weekend after Halloween to get it.

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And then you're not going to be able to get it for a while because and you're definitely not going to get your name in the credits because I got to finish it up and get it out there to everybody.

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And we will be blasting that out everywhere.

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especially tomorrow.

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So today is the 28th.

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This episode should be out on the 29th of October, right on time for Halloween.

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So you guys can get a little, spooky motivation to get your name in those credits.

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We'll be posting the links wherever, you know, we can, but let's continue with this interview because we have a lot to discuss.

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I, and thing that I love that you shared is the enthusiasm of these, you know, actors, these creators, these craftsmen, these directors, writers, everybody.

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It's, that's what I have come to love about the creative community, whether it's in comics or movies or shows is the simple fact that it is every single aspect of this is a labor of love.

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And it's also interesting how that love transcends like just time and the decade and it bridges all these different people.

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Like, you you're talking about these directors and these writers now who are coming out with these films and these horror films and their love of the industry from the 80s, from the 70s has all motivated them.

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I can't even imagine the feeling that you must get when you get to talk to these people.

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you said, it's infectious, right?

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It's fun.

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It's fun.

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mean, there's sort of three elements of me, of David Weiner.

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There's the guy who is struggling to get someone to say, yes, I'm interested.

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Then when they say, yes, sure, sounds great, when, or hells yeah, and I'm like, yes, score, so excited, and we get them, we sit down exclusively with them.

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Ideally, we get more than an hour.

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Usually these interviews are 90 minutes, two hours.

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Sometimes they even go two and a half to three hours.

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And these guys are very, very generous with their time.

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So there's the fan boy who says, yes, I got someone.

00:19:36.748 --> 00:19:39.558
You know, it's like it's like any pots and Ghostbusters.

00:19:39.558 --> 00:19:41.200
We got one.

00:19:41.200 --> 00:19:46.903
You know, I hit the alarm bell and then there's the I'm a professional.

00:19:46.903 --> 00:19:53.586
I'm here to, you know, do an interview and to make you relaxed and to show you that we love you.

00:19:53.586 --> 00:19:55.586
We're I'm knowledgeable.

00:19:55.586 --> 00:19:59.249
Your audience loves everything you're talking about and is interested.

00:19:59.249 --> 00:20:01.888
So please tell us as much as you can.

00:20:02.604 --> 00:20:13.363
And then there's the fanboy again, who as soon as like they leave and say thanks a lot, you know, if they add like, hey, if there's anything I could do to help promote, I'm like, cool, psych.

00:20:13.363 --> 00:20:15.684
They weren't very happy to be here.

00:20:15.684 --> 00:20:20.388
And then the fanboy again gets like, I just can't believe that just happened.

00:20:20.388 --> 00:20:25.673
You know, I can only sandwich the media review.

00:20:25.753 --> 00:20:26.845
Totally understand.

00:20:26.845 --> 00:20:39.203
And what blows my mind thinking about that is when you say, especially if it's two, 90 minutes to two hours is, is it must be so hard to leave some of that conversation on the cutting room floor, you know?

00:20:39.203 --> 00:20:40.384
it's brutal.

00:20:42.486 --> 00:20:44.366
There's so much good stuff.

00:20:44.428 --> 00:20:53.973
But a big part of making these movies is structure and flow and necessity and relevance and repetition or lack thereof.

00:20:54.375 --> 00:20:59.397
So when I, you know, I write these as well and people say, well, how do you write a documentary?

00:20:59.806 --> 00:21:08.671
But in addition to, course, you outline it, you write the questions, that's a writing element where you're really creating the structure of what you want.

00:21:08.892 --> 00:21:23.060
But then once you do the interview and you go down all sorts of rabbit holes and tangents and you get all these amazing, you know, the flow of conversation, you know, I can't believe you, no one's ever asked me that question or, I just remember something that I haven't thought of in the longest time.

00:21:23.060 --> 00:21:25.771
And they go and tell a whole tale, you know.

00:21:26.125 --> 00:21:39.915
But at the end, what I now have to do is I have to take these unwieldy long interviews and I need to structure it in a film that is essentially a story of a decade or a half decade.

00:21:39.915 --> 00:21:40.855
It has to make sense.

00:21:40.855 --> 00:21:42.237
It has to be coherent.

00:21:42.237 --> 00:21:52.123
I want these people who have conflicting opinions to both have their say while it still remains a celebration and not a cynical take on things.

00:21:52.443 --> 00:22:09.028
And what I have to do is I take all these bites And I layer them and I literally I script this with the bytes from top to bottom for ultimately a five and a half or five and a half and change movie, you know, and then credits after that.

00:22:09.028 --> 00:22:11.009
And that is quite the feat.

00:22:11.009 --> 00:22:16.565
And there are times when you have really great stuff in there that it just throws off the flow.

00:22:16.565 --> 00:22:21.118
It throws off the chi, you know, the feng shui of the whole operation.

00:22:21.118 --> 00:22:25.832
And you even though it's really good stuff, sometimes it doesn't quite fit.

00:22:26.394 --> 00:22:35.520
And sometimes, know, want it's nice to have and it's important to have an emotional moment and talking about challenges and failures and disappointments.

00:22:35.520 --> 00:22:39.282
You know, that's that story is interesting and compelling and we want that.

00:22:39.282 --> 00:22:43.066
But this is not also, you know, a tell all tale.

00:22:43.066 --> 00:22:50.069
You know, this is a tale about how these movies fit in the the jigsaw puzzle of a decade.

00:22:50.431 --> 00:22:55.653
And there are times when there's just like a great little anecdote and just like, the anecdotes too long.

00:22:55.832 --> 00:23:06.845
can I compress it and still get the vibrant nature of what they're trying to say in the context and it's all there and it's still fun and we're as funny as I found it when they told me.

00:23:06.845 --> 00:23:09.746
But sometimes it just does not fit, you know?

00:23:09.746 --> 00:23:16.518
And it's painful, but sometimes people get to see this stuff down the road.

00:23:16.518 --> 00:23:18.888
So I don't feel like it's lost completely.

00:23:18.888 --> 00:23:56.546
There's like this part of the conversation, it just makes me like both envious and completely whatever the opposite of envious is because like I just I can't imagine that that's that's just a a laborious process that but it's also just again a heartbreaking but but beautiful process and you know again trying to keep a story intact while still kind of like consolidating it it's such a challenge I especially like I I can't even imagine but at the same time I have a little bit of a relation to it because of writing but at the same time I don't think that I have the ability to comprehend the depth of it.

00:23:56.546 --> 00:23:59.925
Because, yeah, it's such an interesting way to look at it.

00:23:59.925 --> 00:24:11.905
it's an interesting element of it is, you know, what I love about these In Search of Darkness documentaries is that you get people talking about their own films, whether they were in front of the camera or behind the camera.

00:24:11.905 --> 00:24:15.455
But you also have them talking about their favorites.

00:24:15.455 --> 00:24:19.766
And so ultimately, you know, you might get to whatever title it may be.

00:24:19.766 --> 00:24:27.480
You know, you get to say, we get to Army of Darkness and I'm talking with Ted Raimi about his experience on there.

00:24:27.580 --> 00:24:39.086
But I also, because I was talking to Alex Winter, Alex Winter was friends with Sam Raimi and would go to the set and be in awe and just watch as a fan and as a student of film.

00:24:39.086 --> 00:24:41.307
And so I'd get his perspective on things.

00:24:41.307 --> 00:24:44.109
also, know, Kayla Cooper is a huge fan.

00:24:44.109 --> 00:24:47.730
So I get her, you know, just appreciation of the film.

00:24:47.730 --> 00:24:51.594
But I also was talking to Bernard Rose, the director of Candyman.

00:24:51.594 --> 00:24:56.266
He's like, I had a one line in Army of Darkness.

00:24:56.266 --> 00:24:59.445
got to play a soldier and it was the time of my life.

00:24:59.445 --> 00:25:01.125
And he's a pretty serious guy.

00:25:01.125 --> 00:25:03.506
And he's just like, I love that movie so much.

00:25:03.506 --> 00:25:12.786
And so it's an embarrassment of riches when I assemble a piece together and I'm just like, these are elements you don't get anywhere else.

00:25:12.786 --> 00:25:14.625
I mean, more on Alex Winter.

00:25:14.625 --> 00:25:21.750
It's like, he was also a fly on the wall for Bram Stoker's Dracula because Keanu Reeves is his buddy.

00:25:21.750 --> 00:25:24.500
Keanu's like, come to this, the Dracula set today.

00:25:24.500 --> 00:25:25.551
He's like, all right.

00:25:25.551 --> 00:25:32.713
So he's hanging out with Coppola and Keanu and everybody else and just in awe at the amazing filmmaking.

00:25:33.234 --> 00:25:38.237
so I get to have his perspective on that, as well as, say, James V.

00:25:38.237 --> 00:25:51.266
Hart, who who wrote the screenplay and was a producer and and got to be, you know, he's the guy that Coppola wouldn't have made it if it wasn't for him and for Winona Ryder, because Winona Ryder.

00:25:51.266 --> 00:25:53.546
felt, I'm going down the rabbit hole already.

00:25:53.546 --> 00:25:54.096
You're fine.

00:25:54.096 --> 00:26:03.611
We know a writer already felt guilty that she bowed out of Godfather III for quote unquote exhaustion, whatever that meant to her.

00:26:04.031 --> 00:26:05.252
It was too much.

00:26:05.252 --> 00:26:12.576
But she felt some, she felt contrite and she wanted to make it up to Francis Ford Coppola in some way, or form.

00:26:12.576 --> 00:26:15.446
And she came across James V.

00:26:15.446 --> 00:26:17.357
Hart, Jim Hart's...

00:26:17.917 --> 00:26:26.218
script for Bram Stoker's Dracula, which at the time it was going and making the rounds, it was going to be like a TV movie.

00:26:26.218 --> 00:26:28.678
And somehow it landed in her pile.

00:26:28.678 --> 00:26:36.317
She went through it, saw it, said, huh, I think Francis might like this, brought it to Francis as sort of a sorry, I didn't make it.

00:26:36.317 --> 00:26:37.208
I like the script.

00:26:37.208 --> 00:26:37.877
What do you think?

00:26:37.877 --> 00:26:39.397
And he's like, I love that book.

00:26:39.397 --> 00:26:40.117
I love.

00:26:40.117 --> 00:26:41.258
Let me read the script.

00:26:41.258 --> 00:26:42.137
it's great.

00:26:42.137 --> 00:26:49.517
Next thing you know, you know, this guy who is a a screenwriter, of course, James V.

00:26:49.517 --> 00:26:56.869
Hart, who hadn't could not like, you know, catch a cold in Hollywood and his representation.

00:26:57.070 --> 00:27:02.393
He also had another script at the same time that started getting traction called Hook.

00:27:02.532 --> 00:27:07.655
Next thing he knew, Hook and Bram Stoke is Dracula are being made at the same time.

00:27:07.655 --> 00:27:11.306
They're both at Sony Studios, Columbia at the time.

00:27:11.306 --> 00:27:17.750
And You know, he's just like, I owned that studio, you know, all the the golf carts going around.

00:27:17.750 --> 00:27:20.099
either said Bram Stoker's Dracula or Hook.

00:27:20.099 --> 00:27:23.730
And one day there was there was a crash of two carts.

00:27:23.730 --> 00:27:24.670
One was Hook.

00:27:24.670 --> 00:27:25.750
One was Dracula.

00:27:25.750 --> 00:27:27.369
What a crossover.

00:27:27.369 --> 00:27:28.589
It's pretty fun.

00:27:28.589 --> 00:27:30.150
when you know, what was the question?

00:27:30.150 --> 00:27:32.240
The question really was about writing this thing.

00:27:32.240 --> 00:27:39.509
But to me, yes, it's very difficult, but I've done this many times and I'm not saying it's easy, but.

00:27:39.509 --> 00:27:45.092
when it comes together nicely, because you have all these disparate elements and you're able to sort of fit them in the puzzle.

00:27:45.092 --> 00:27:46.382
I'm saying puzzle a lot.

00:27:46.382 --> 00:27:52.153
It is, you know, you put the puzzle together and it starts fitting together nicely.

00:27:52.153 --> 00:27:57.634
You could progressively tell a great story of production and behind the scenes.

00:27:57.634 --> 00:28:02.056
And when it comes together with amazing clips, you're it's awesome.

00:28:02.056 --> 00:28:03.256
It's wonderful.

00:28:03.957 --> 00:28:17.251
Such an amazing explanation of how this all works together, how Hollywood is this churning mixing cauldron of just constant ideas in and out, whether it's at the same time from the same person or many different people.

00:28:17.251 --> 00:28:24.846
It's that's such a, it's such a, a beautiful yet chaotic way of kind of explaining what holiday, how, how, what Hollywood is.

00:28:24.846 --> 00:28:26.027
And I love it.

00:28:26.257 --> 00:28:36.872
I want to ask about kind of the transition from the eighties and the nineties and speaking to these, these, people that are in, in the documentary.

00:28:38.594 --> 00:28:54.190
and, and What did speaking to these horror icons of both the 80s and the 90s reveal about the genre, industry itself, and what feelings do they convey to you about the changes from the 80s to the 90s?

00:28:54.190 --> 00:28:56.970
Well, think it's always important.

00:28:56.970 --> 00:29:07.809
I think everyone knows, if you really do think about it, that the last day of 1989 and the first day of 1990, there is no difference at all.

00:29:08.066 --> 00:29:10.758
We define it as an entirely new decade.

00:29:10.758 --> 00:29:15.741
You know, the ball drops, everyone says Happy New Year, and all of a sudden everything is different.

00:29:15.741 --> 00:29:19.433
But of course, it's not, you know, the change is progressive.

00:29:19.694 --> 00:29:28.441
So all these folks who came to talk about their work and their career, some were just getting warmed up.

00:29:28.441 --> 00:29:33.884
Others were trying to figure out, like say John Carpenter, you know, what's my next act?

00:29:33.884 --> 00:29:35.617
You what do I do next?

00:29:35.617 --> 00:29:48.565
How do I keep things going and start doing things that I'm interested in versus someone say like, you know, Wes Craven, for example, he's like, you know, I'm he's cooking on all the metaphors.

00:29:48.565 --> 00:29:58.310
He's like on also firing on all cylinders and, you know, really interested in in in meta filmmaking before we had that word meta, you know.

00:29:58.310 --> 00:30:00.211
So he's doing the people under the stairs.

00:30:00.211 --> 00:30:03.853
He's doing he's reinventing.

00:30:04.630 --> 00:30:21.759
Freddy Krueger with Wes Craven's New Nightmare, where he's literally taking a horror icon and a franchise that really was top of its game and really defines for so many people what 80s horror was.

00:30:21.759 --> 00:30:23.525
And he said, I'm just going to pick this apart.

00:30:23.525 --> 00:30:32.714
I'm going to have the actors, including myself, play ourselves in, you know, Heather Langham plays Heather Langham, Robert Englund plays Robert Englund.

00:30:32.714 --> 00:30:34.594
They play a version of themselves.

00:30:34.594 --> 00:30:40.199
that in real life and Freddy is getting into their world in real life.

00:30:40.199 --> 00:30:42.599
You know, and that's kind of a hard sell.

00:30:43.141 --> 00:30:45.453
It might even be a hard sell today.

00:30:45.453 --> 00:30:59.375
It sure certainly was a hard sell for Heather Langley can who was who was then a new mom and playing a mom in this in this movie and just thinking, is this something I really want to do?

00:30:59.375 --> 00:31:03.884
You know, my husband, who is a special effects guy in the movie.

00:31:03.884 --> 00:31:05.894
My husband's a special effects guy.

00:31:05.894 --> 00:31:08.694
You know, she's like, this is hitting way too close to home.

00:31:08.694 --> 00:31:10.556
I don't think I want to do this.

00:31:10.556 --> 00:31:16.436
But without getting too much into that movie, we can later, if you like.

00:31:16.436 --> 00:31:21.638
but, you know, she decided no way am I going to let anyone else play Nancy.

00:31:21.638 --> 00:31:22.739
That's my role.

00:31:22.739 --> 00:31:26.710
I get to play that role over the course of many years.

00:31:26.710 --> 00:31:32.622
So I get to evolve with that role, which is very special and interesting and rare for an actor.

00:31:33.612 --> 00:31:39.467
But you have a lot of evolution with filmmakers trying to figure out what they want to do.

00:31:39.467 --> 00:31:45.271
Kronenberg, he's like, I'm going to get a little weirder, but I'm also going to go further away from this.

00:31:45.271 --> 00:31:47.482
know, Ramey, he's like, I'll do Darkman.

00:31:47.482 --> 00:31:48.753
I'll do Army of Darkness.

00:31:48.753 --> 00:31:51.606
But now I'm going to I'm going to pivot and do a Western.

00:31:51.606 --> 00:31:53.038
I'll do the quick and the dead.

00:31:53.038 --> 00:31:54.608
You know, I'll do a simple plan.

00:31:54.608 --> 00:31:58.362
I'll do for the love of the game, you know, about baseball.

00:31:58.982 --> 00:32:03.655
He, you know, and of course, we all know that he moved on to Spider-Man after that.

00:32:04.218 --> 00:32:06.559
you know, there was a, and he did the gift as well.

00:32:06.559 --> 00:32:16.214
So we went back to horror for a little bit, but chronologically, ultimately he was trying to show his chops as a filmmaker that it would be a versatile filmmaker.

00:32:16.214 --> 00:32:21.428
Cause listen, none of these people only wanted to do horror.

00:32:21.648 --> 00:32:21.979
Yeah.

00:32:21.979 --> 00:32:24.430
You know, they're, they're masters of horror.

00:32:24.430 --> 00:32:26.731
Is that all they ever wanted to do?

00:32:26.731 --> 00:32:28.192
No, not even Wes Craven.

00:32:28.192 --> 00:32:29.057
Cause what did he do?

00:32:29.057 --> 00:32:31.074
He used his clout.

00:32:31.074 --> 00:32:43.656
to make a movie called Music of the Heart with Meryl Streep based on a true story about a teacher and kids teaching a music teacher.

00:32:44.057 --> 00:32:54.200
anyway, the 90s when it became January 1990, it was the beginning of filmmakers collectively, not all of them.

00:32:54.200 --> 00:33:00.268
Some were just like, I want my hamburger and cheeseburger and sequel always be the same with another.

00:33:00.268 --> 00:33:02.499
you know, this, that, or the other sequel.

00:33:02.739 --> 00:33:04.059
That's a sure thing.

00:33:04.059 --> 00:33:17.787
But I think a lot of filmmakers were recognizing that audiences were hungry for something new, hungry for something a little more intelligent, something that respected them a little more or challenged them a little more.

00:33:18.268 --> 00:33:21.409
Actors were looking for challenging material.

00:33:21.409 --> 00:33:27.863
Directors were looking to push the envelope with technology and practical effects.

00:33:27.863 --> 00:33:29.996
But you also got a whole...

00:33:29.996 --> 00:33:32.787
I mean, this has been the longest answer in the world, right?

00:33:33.167 --> 00:33:37.849
You've also got studios that still see horror as a stigma.

00:33:39.250 --> 00:33:51.897
they're more interested in putting out, they'll put out horror films, but they are much more interested in spending the big marketing money on something that they could call a thriller, especially when they see something like Fatal Attraction does really well.

00:33:51.897 --> 00:34:02.770
Everyone wants their Fatal Attraction with Single Life Female or Hannah Rocks the Cradle or Sleeping with the Enemy or Basic Instinct and so So, you know, something like that.

00:34:02.932 --> 00:34:05.403
But then you get a movie like, you know, is it a thriller?

00:34:05.403 --> 00:34:06.314
Is it horror?

00:34:06.314 --> 00:34:07.084
Doesn't matter.

00:34:07.084 --> 00:34:09.456
It's called Silence of the Lambs and it went on.

00:34:09.456 --> 00:34:10.416
Yeah.

00:34:10.436 --> 00:34:14.860
And you get a whole serial killer subgenre and everyone wants to be like that.

00:34:14.860 --> 00:34:21.804
And you get all the a-listers who say, I want my Oscar for chewing up the scenery like Tony Hopkins.

00:34:21.804 --> 00:34:27.577
So you get movies, especially in the wake of ramp circus Dracula, like with the vampire.

00:34:27.577 --> 00:34:29.889
You get Wolf, you get Mary Shelley's.

00:34:29.889 --> 00:34:32.150
Frankenstein and so on.

00:34:32.150 --> 00:34:33.632
All right, I'll stop there.

00:34:33.632 --> 00:34:34.972
No, you're good.

00:34:34.972 --> 00:34:52.719
I love because one thing I did before, you know, earlier today when I was getting ready for this conversation was I went through each of the years that you covered and I went through and I basically made a list of each year of my favorite horror movies and I can bring those up later and kind of pick your brain on some of those.

00:34:52.719 --> 00:34:57.523
But it's funny because like I just I hear you mention these movies and it's like, yep.

00:34:57.523 --> 00:34:59.525
That's one, that's one, that's one.

00:34:59.525 --> 00:35:16.423
And I love, and I do, I didn't realize, again, as I mentioned earlier, how Chris and I are kind of very much accepting this love of horror that wasn't necessarily as big when we first started the show, but it's definitely big now.

00:35:16.523 --> 00:35:23.527
And realizing that maybe this love of horror was actually there because of how many of these movies I actually do love and enjoy.

00:35:24.068 --> 00:35:32.157
Just because of maybe, again, the alignment of, the 90s starting and that's really where I started kind of growing up into my own and watching these films.

00:35:32.557 --> 00:35:39.762
But saying that, I want to kind of bring this together with one of the topics that you just talked about.

00:35:39.762 --> 00:36:00.864
And one thing that we kind of discussed and is brought up in your trailer as well is the explosion of digital effects into just Hollywood in general, but the impact that it had on horror and thriller and this, you know, and, cinema and Hollywood itself.

00:36:01.025 --> 00:36:08.320
And you kind of already touched on it a little bit, but, I don't want you to give too much away because obviously a lot of it goes into the documentary.

00:36:08.320 --> 00:36:11.001
We don't want to spot, we want people to go watch it, not spoil it.

00:36:11.001 --> 00:36:31.918
But I just, want to hear your, your, your words on the introduction of this new wave of like technology and it kind of hitting almost all the toolkits of, of know, everyone except for, you know, really the practical effect loyalists, you know, and how it kind of affected the industry.

00:36:31.918 --> 00:36:36.525
Well, it was cool to have Robert Kurtzman in our cast.

00:36:36.905 --> 00:36:40.507
He would later be the director of Wishmaster.

00:36:40.748 --> 00:36:46.471
And, you know, he came up with the idea for From Dusk Till Dawn.

00:36:47.070 --> 00:37:00.835
But he was part of KNB Special Effects doing every huge movie, working with Howard Berger and Greg Nicotero, they were working on every movie.

00:37:01.454 --> 00:37:08.018
he was like a wealth of information where I'm just like, all right, tell me about Leatherface, tell me about Misery, tell me about that.

00:37:08.018 --> 00:37:10.480
He was there for all of it, practically.

00:37:10.480 --> 00:37:14.483
But one of the first things he said was he said some interesting things.

00:37:14.483 --> 00:37:20.465
He said that as soon I'm sort of jumping forward and then I'll go backwards.

00:37:20.829 --> 00:37:29.652
Once the big explosion happened and all of a sudden there was this pivot in the industry where everyone said, I want something like Jurassic Park and T2.

00:37:29.652 --> 00:37:34.914
More and more producers were saying it's going to be CG or we'll fix it in post.

00:37:35.134 --> 00:37:48.177
so practical effects, were if the the crews weren't getting smaller or the budgets weren't getting smaller, they were getting less prep time because they figured they could do more with CG.

00:37:48.177 --> 00:37:59.152
And so it really was affecting the practical effects purists and the way they were doing business and their creativity and what they could produce on whatever budget they were given.

00:37:59.413 --> 00:38:03.114
It was a definite cause and effect that happened immediately.

00:38:03.434 --> 00:38:06.797
It had ripple effects throughout the entire entertainment industry.

00:38:06.797 --> 00:38:19.226
But I think now stepping back a little bit, what's interesting about that whole decade of the 90s, I think a lot of people when they think about the 90s, one of the things they think about is, really bad CGI.

00:38:19.405 --> 00:38:23.385
You know, CG doesn't doesn't it looks terrible.

00:38:23.385 --> 00:38:26.106
You know, it's lawnmower man effects.

00:38:26.405 --> 00:38:42.686
And what they don't realize is or they don't immediately think of unless you see a movie like In Search of Darkness, 1990 to 1994 is a recontextualization of why, you know, this was brand new at the time.

00:38:42.686 --> 00:38:48.001
You know, it was it was also a technology that was in its infancy.

00:38:48.001 --> 00:38:55.483
all of sudden taking baby steps and then just burst out of the gate like a toddler who could walk and running around like a maniac.

00:38:55.483 --> 00:39:02.065
And that was essentially with Jurassic Park and Terminator 2, as I've mentioned.

00:39:02.405 --> 00:39:10.288
All these producers and filmmakers said, I want that, but I don't want to pay the money that's required.

00:39:10.288 --> 00:39:17.643
So maybe like one fifth of the budget that IOM or Industrial Light Magic or.

00:39:17.643 --> 00:39:29.179
Stan Winston and those guys take extreme amount of time with huge teams, lots of R &D to make these effects look real.

00:39:29.179 --> 00:39:34.190
know, also people looked at these dinosaurs and said, holy crap, it's all digital and they look so real.

00:39:34.190 --> 00:39:42.693
Not understanding that there's a digital divide where practical effects and digital effects begin.

00:39:42.693 --> 00:39:46.358
And they don't know where that seam is because you have a...

00:39:46.358 --> 00:39:54.121
master filmmaker, James Cameron, Steven Spielberg, hiding these seems like expert magicians.

00:39:54.121 --> 00:39:56.181
So you just think, it's digital.

00:39:56.181 --> 00:39:57.702
Everything's digital now.

00:39:57.702 --> 00:39:58.762
I want that, too.

00:39:58.762 --> 00:40:07.867
And then you're wondering why it's not as good because you can't spend the money to get it right or the time to get it right.

00:40:07.927 --> 00:40:14.150
And in defense of, say, the lawnmower man, know, lawnmower man's problems.

00:40:14.273 --> 00:40:21.860
really are about the fact that it's based on a Stephen King story and has next to nothing to do with that original story.

00:40:21.860 --> 00:40:29.365
That's apples and oranges though, because we're talking about the effects and the effects are about virtual reality and advances in technology.

00:40:29.365 --> 00:40:33.889
If you look at virtual reality at the time, this was the cutting edge look.

00:40:33.889 --> 00:40:35.592
Yes, exactly.

00:40:35.592 --> 00:40:37.193
It looked just like this.

00:40:37.193 --> 00:40:39.061
When you're talking about morphing.

00:40:39.061 --> 00:40:40.663
Morphing was brand new.

00:40:40.663 --> 00:40:44.744
We first saw it actually in Michael Jackson's Black or White video.

00:40:45.003 --> 00:40:48.996
And then next thing you know, Mick Garris is using it in sleepwalkers and the stand.

00:40:48.996 --> 00:40:52.878
And all of a sudden, everyone wants a piece of that and they want to have morphing.

00:40:52.878 --> 00:40:54.447
And it looks super cool.

00:40:54.447 --> 00:40:57.920
To audiences at the time, they were like, wow, really neat.

00:40:57.920 --> 00:40:59.170
Never saw this before.

00:40:59.170 --> 00:41:00.030
How cool.

00:41:00.030 --> 00:41:01.570
How did they do that?

00:41:02.010 --> 00:41:04.271
But it quickly ages.

00:41:04.271 --> 00:41:11.735
And all I can say is that you have to recognize that at the time, It felt very real, very new.

00:41:11.735 --> 00:41:13.215
Your jaw dropped.

00:41:13.215 --> 00:41:17.836
You look back at Ray Harryhausen's stop motion effects.

00:41:17.938 --> 00:41:20.798
No one says, those look so fake.

00:41:20.798 --> 00:41:26.460
They know that it's a time capsule stop motion effect of the era.

00:41:26.460 --> 00:41:28.422
know, also Brian's King Kong.

00:41:28.422 --> 00:41:30.943
You don't say, my God, it looks so fake.

00:41:31.123 --> 00:41:37.545
No, everyone at the time when they saw that, they suspended their disbelief and they were in awe.

00:41:37.545 --> 00:41:44.168
at how they were transported to a magical landscape with creatures and battles with these skeletons and...

00:41:44.168 --> 00:41:45.949
Clash the titans and...

00:41:45.949 --> 00:41:56.351
To this day, we love it, but we know that it's not realistic, but you accept it for what it is because you have the context of what it is.

00:41:56.452 --> 00:42:04.054
And all I will say is that, you know, we still haven't even to this day, with all the amazing advances where...

00:42:04.097 --> 00:42:10.079
There's more practical effects used and then there's visual CG to sweeten things.

00:42:10.079 --> 00:42:13.621
So the effects really look good more often than not.

00:42:13.621 --> 00:42:15.740
Sometimes they're still kind of bad.

00:42:15.740 --> 00:42:19.681
We still haven't fully crossed the uncanny valley.

00:42:19.742 --> 00:42:24.034
know, things look very real, but we still know if it's human or not.

00:42:24.034 --> 00:42:25.804
We just know it, you know?

00:42:25.804 --> 00:42:32.876
And, you know, there's all sorts of questions about what we're doing now, resurrecting.

00:42:33.121 --> 00:42:38.684
dead actors to star in, you know, contemporary films, you name it.

00:42:38.684 --> 00:42:39.653
It's in a commercial.

00:42:39.653 --> 00:42:40.693
It's on television.

00:42:40.693 --> 00:42:42.074
It's in on video.

00:42:42.074 --> 00:42:43.465
I your movies.

00:42:43.704 --> 00:42:50.806
But lastly, I'll just say, you know, 30 years from now, we'll look at Avatar and say, my God, those are like stick figures.

00:42:50.806 --> 00:42:51.137
Really?

00:42:51.137 --> 00:42:55.208
People people paid a billion dollars to see that.

00:42:55.208 --> 00:42:57.619
You know, that's it's like a big cartoon.

00:42:57.619 --> 00:43:00.248
You know, I could do better on my iPhone with that.

00:43:00.248 --> 00:43:02.329
And they will be and they'll be right.

00:43:02.329 --> 00:43:06.398
But It doesn't matter because it was cool when it was new.

00:43:06.398 --> 00:43:07.159
Exactly.

00:43:07.159 --> 00:43:15.820
I always I always kind of attribute that to my my thoughts of the original Tron and then the evolution of like Tron legacy.

00:43:15.842 --> 00:43:26.936
You know, if you look back at Tron and you look at the computer like Tron was not allowed to win any I think it was any Emmys or was it any kind of Oscars?

00:43:26.936 --> 00:43:27.304
That's what I say.

00:43:27.304 --> 00:43:31.306
It wasn't allowed to win an Oscar because they you know, people said they were cheating.

00:43:31.320 --> 00:43:33.050
You know, and look at the industry now.

00:43:33.050 --> 00:43:38.275
So it's like, always tell people like, if you enjoy things like Tron legacy, go back and watch where it came from.

00:43:38.275 --> 00:43:39.476
Like that's the evolution.

00:43:39.476 --> 00:43:42.438
know, you can't exactly what you said with lawnmower man.

00:43:42.438 --> 00:43:56.617
You know, if you were, if anybody was a gamer back in the day, and I always throw my own kind of like, you know, to relate it to people back in the, I to say early nineties, the Nintendo, they released the virtual boy and that was virtual reality.

00:43:56.617 --> 00:43:58.458
And it was just, all it was, was grid effects.

00:43:58.458 --> 00:43:59.873
It was red and black.

00:43:59.873 --> 00:44:01.655
grid effects and it was terrible.

00:44:01.655 --> 00:44:04.697
But that's what you saw and you appreciated it and you loved it.

00:44:04.697 --> 00:44:21.458
You have to appreciate the moments that we have in time and appreciate and that's what you're doing is you're taking these moments, these years that we have and you're showing why they should be appreciated from behind the scenes to in front of the screens.

00:44:21.458 --> 00:44:23.168
And it does not matter.

00:44:25.132 --> 00:44:33.307
the viewers feelings on, on what it looked like back then, because what it looked like back then was mind blowing or it was beautiful or anything.

00:44:33.307 --> 00:44:40.373
like, I, I love the fact that you have this perspective and hopefully this perspective continues to, you know, catch on.

00:44:40.373 --> 00:44:49.451
then saying all that, like, I just want to remind people again, that we're coming up last minute for people to jump in on this incredible journey into the depths of, of early nineties, horror.

00:44:49.451 --> 00:44:53.030
You'll be able to get it later on, just like, David said, you'll be able to get it later on.

00:44:53.030 --> 00:45:00.943
if you really want to support it now, if you really want to be in those credits, if you really want to be a part of this this journey, you know, jump on it.

00:45:00.943 --> 00:45:06.713
But I want to give you, David, before we close out this conversation, I want to give you just some some time.

00:45:06.713 --> 00:45:13.965
What would you say to them like directly, you know, to entice them to be a part of this yet again, a historical documentary?

00:45:13.965 --> 00:45:19.597
Yeah, I think for those who aren't in the know or haven't seen these movies.

00:45:20.269 --> 00:45:23.170
These are, we're a small company.

00:45:23.170 --> 00:45:26.449
Creator VC is the company that makes these.

00:45:26.750 --> 00:45:36.590
It's essentially our blood, sweat and tears as a very small team goes into making these very long form documentaries.

00:45:36.929 --> 00:45:38.969
We really put our heart and soul in these things.

00:45:38.969 --> 00:45:59.827
And if you want to support independent filmmaking, that's not governed by a studio or a marketing team for some sort of What have you, you know, a marketing team saying we've got this new product on the line and so we'll do a, you know, a documentary to support the product.

00:45:59.889 --> 00:46:06.632
This is really about a time in film history that we are fans of and that we appreciate.

00:46:06.632 --> 00:46:19.762
And I'm making this for fans of film, for fans of horror and for fans of the 90s who might not know that they're fans of the 90s because I'm not, I'm not.

00:46:20.268 --> 00:46:24.003
misled or deceived about people's perception of the 90s.

00:46:24.003 --> 00:46:27.760
know, coming after the 80s, it's a little more complicated time.

00:46:27.760 --> 00:46:37.416
And I think a lot of people, when they look at that decade, the first thing they think of is, well, there was Scream, know, Blair Witch, and maybe Silence of the Lambs, if you want to count that.

00:46:37.416 --> 00:46:39.586
But then they kind of scratch their head.

00:46:39.586 --> 00:46:48.050
So here's an opportunity to have your memory refreshed with an absolute celebration of this era.

00:46:48.139 --> 00:46:50.130
all about it, all about filmmaking.

00:46:50.130 --> 00:46:52.612
You don't even necessarily have to be a fan of horror films.

00:46:52.612 --> 00:47:09.143
If you're a fan of film and filmmaking and oral histories of what it was like in Hollywood, whether you were working on a studio film or someone doing a DIY film in their backyard or with no budget.

00:47:09.143 --> 00:47:15.365
I mean, we run the gamut in terms of the type of stuff that we talk about, the people we talk to about it.

00:47:15.514 --> 00:47:19.398
and the celebration and appreciation of all of these films.

00:47:19.398 --> 00:47:23.900
And we love making these films and we love that you guys love it.

00:47:25.041 --> 00:47:33.590
yeah, you know, the best thing, if you want to be part of this and help us get it over the line by November 3rd, go to 90shorrordoc.com.

00:47:33.590 --> 00:47:34.550
And guess what?

00:47:34.550 --> 00:47:37.672
You're probably like, well, I'll just check out on Amazon.

00:47:37.672 --> 00:47:39.434
You know, I'll get it there.

00:47:39.695 --> 00:47:41.565
It's because we're a small company.

00:47:41.565 --> 00:47:44.157
It's not going to be on Amazon ever.

00:47:44.322 --> 00:47:46.242
It's only going to be on YouTube.

00:47:46.242 --> 00:47:52.903
Sorry, it's only going to be on eBay and it's just going to be way more expensive than it is now.

00:47:53.525 --> 00:48:00.045
And what's cool about, you know, when you buy it now, you get your name in the credits, you get a physical copy.

00:48:00.126 --> 00:48:04.007
Eventually, when you do find it on streaming somewhere, it's not going to last.

00:48:04.007 --> 00:48:05.967
Streaming is fleeting.

00:48:05.967 --> 00:48:11.710
when, you know, in search of darkness, you can't find it anywhere unless you come to us.

00:48:11.710 --> 00:48:23.686
If you missed getting the trilogy, What's cool is if you get in search of darkness, 1990 to 94, you could also get the original trilogy box set as well.

00:48:23.686 --> 00:48:33.885
So, you know, I don't want to get into too much of a pitch mode here, but I know this is the time for it I would I would I would browsing on the website.

00:48:33.885 --> 00:48:41.762
And like I what I love is I love that you can get, you know, some you could add when you're purchasing it, you can get add ons, you can get.

00:48:41.762 --> 00:48:44.583
this beautiful 300 page.

00:48:44.862 --> 00:48:45.862
It's the the.

00:48:45.862 --> 00:48:48.063
And search it tomorrow.

00:48:48.063 --> 00:48:52.085
Yeah, And that it's it's it just looks gorgeous.

00:48:52.085 --> 00:48:56.686
And then again, there's the other there's you know, you can get aliens expanded.

00:48:56.686 --> 00:49:00.226
There's so many different add ons that that just they just look good.

00:49:00.226 --> 00:49:07.068
And that's what I think people need to understand here is just because this is a small creator owned product.

00:49:07.588 --> 00:49:21.253
This is not something that is just it's not low budget is again, you Just like these creators from the nineties, from the eighties, these teams, you've put your love, your soul, your heart into this and it looks like it looks the part.

00:49:21.253 --> 00:49:22.704
is a beautiful product.

00:49:22.704 --> 00:49:30.344
And I know Chris and I have supported you from the beginning because we've known how much, I think for us, it's not just about what you're creating.

00:49:30.344 --> 00:49:39.744
It's the fact that you yourself, the energy and the dedication that you and your team have for this is just inspiring.

00:49:39.744 --> 00:49:45.574
And I think you know, since knowing you, we've, we felt that and we're like, you know, empathetically we're empaths.

00:49:45.574 --> 00:49:47.695
So we're feeling that we're feeling that energy.

00:49:47.695 --> 00:49:56.128
And, and, and, and, you we're going to, we, we, we will always vamp about you here on, on the oblivion bar, David, because we're just such huge fans of this.

00:49:56.128 --> 00:50:05.931
And like I said, I, I honestly like thinking about this now, like, I feel like this is, if I were to equate it to anything, these are, these are time capsules.

00:50:05.972 --> 00:50:10.264
These are things that need to be recorded for a reason.

00:50:10.264 --> 00:50:14.864
for posterity, for knowledge, and honestly carried forward.

00:50:14.864 --> 00:50:16.795
And they should be in libraries.

00:50:16.795 --> 00:50:18.215
They should be in film schools.

00:50:18.215 --> 00:50:19.045
They should be studied.

00:50:19.045 --> 00:50:20.376
They should be watched.

00:50:20.376 --> 00:50:28.059
And they should be understood because, you know, there's the old adage where if you don't study your history, you're doomed to repeat it.

00:50:28.219 --> 00:50:31.940
And I think that that's just so important.

00:50:32.300 --> 00:50:40.398
through your passion and what you've put into this at the time, the amount of the years of your life that you've put into this, it's obvious how much you love it.

00:50:40.398 --> 00:50:41.768
Yeah, thank you.

00:50:41.768 --> 00:50:43.858
Very kind words, very kind words.

00:50:43.858 --> 00:50:50.697
put it well, I've been I've been doing this since the fall of 2018 is when I got got started.

00:50:50.697 --> 00:51:07.318
And when we did the first In Search of Darkness and it was very successfully crowdfunded and then very, very well received in 2019, we just celebrated the five year anniversary of the premiere that we had at Beyond Fest of it.

00:51:07.318 --> 00:51:10.650
I never in my wildest dreams dream.

00:51:11.039 --> 00:51:29.315
in my wildest dreams dreamed that I would actually still be getting permission from you guys to make more of these, getting encouraged to make more, requesting, please put this in the next one, with the assumption that there will be a next one, there will be another decade.

00:51:29.755 --> 00:51:34.326
That warms my heart, that there's such a desire to see more.

00:51:34.326 --> 00:51:45.420
Hey, I look at the letterbox reviews, which can sometimes be pretty, very, very, very candid with their wording at times.

00:51:45.501 --> 00:51:56.597
But believe it or not, I really enjoy going to Letterboxd because there's so many enthusiastic people who say, you know, tap my veins with this stuff 24 seven, you know, this was good.

00:51:56.597 --> 00:51:59.103
I can't believe it was five, five and a half hours.

00:51:59.103 --> 00:52:00.594
Why wasn't it longer?

00:52:00.594 --> 00:52:05.798
You know, but so it's it's very encouraging for that.

00:52:05.798 --> 00:52:10.065
But then again, you know, then again on the flip side, I think one of my favorite.

00:52:10.065 --> 00:52:13.646
letterbox reviews is it was a one line review.

00:52:13.646 --> 00:52:16.987
It said, why the fuck was this five hours long?

00:52:18.809 --> 00:52:20.929
And I just laughed hysterically.

00:52:20.929 --> 00:52:27.210
like, I cannot disagree with you if that's a good question mark over that one.

00:52:27.210 --> 00:52:29.572
No context.

00:52:29.572 --> 00:52:33.333
I think, you know, when I do say when you say, what do I say to everybody?

00:52:33.333 --> 00:52:35.943
These things are very watchable.

00:52:36.242 --> 00:52:38.603
They're wonderfully edited.

00:52:38.905 --> 00:52:51.894
Alex Townley is our new editor under the tutelage of Samuel Way, who is our previous editor who continues to work on our other projects like Aliens Aliens Expanded, and he's doing the thing expanded now.

00:52:52.036 --> 00:52:53.277
Alex is amazing.

00:52:53.277 --> 00:52:57.300
These all feel and move so fast.

00:52:57.300 --> 00:53:03.746
And the way they're organized is because it's year by year, movie by movie, chapter by chapter.

00:53:04.074 --> 00:53:10.320
There's at any given time you could just stop and come back and pick up and you don't feel like you've missed a thing.

00:53:10.320 --> 00:53:13.882
And most people say, well, I'll just watch maybe a half hour.

00:53:13.882 --> 00:53:18.146
Next thing they know, they're five hours in and they're wishing they were an adult diaper.

00:53:19.148 --> 00:53:23.822
I got it for for just complete.

00:53:23.822 --> 00:53:29.896
I'm losing my words right now, but I want to be I want to be I got to ask for my own edification.

00:53:31.117 --> 00:53:32.148
I was gonna say, I want to be selfish.

00:53:32.148 --> 00:53:33.327
That's the word I was looking for.

00:53:33.327 --> 00:53:33.807
Go for it.

00:53:33.807 --> 00:53:35.237
I want to be selfish.

00:53:35.237 --> 00:53:39.177
In 1991, The Guyver came out.

00:53:40.077 --> 00:53:41.387
is that in there?

00:53:41.387 --> 00:53:43.378
I know it's not necessarily a horror movie.

00:53:43.378 --> 00:53:44.898
It's more sci-fi.

00:53:44.898 --> 00:53:46.077
It's more sci-fi.

00:53:46.077 --> 00:53:47.018
It's more sci-fi.

00:53:47.018 --> 00:53:50.697
There are some things that are kind of sci-fi adjacent.

00:53:51.358 --> 00:53:56.038
You never know if I might be doing I'm in search of tomorrow.

00:53:56.557 --> 00:53:57.358
1990s.

00:53:57.358 --> 00:54:02.427
And if that's the case, and that was a consideration in making my decisions.

00:54:02.427 --> 00:54:04.478
And here's the problem with these movies.

00:54:04.478 --> 00:54:05.818
It's a good problem to have.

00:54:05.818 --> 00:54:08.038
There are so many amazing titles.

00:54:08.038 --> 00:54:12.038
So I can guarantee you that your favorite is in here.

00:54:12.038 --> 00:54:17.318
And I can guarantee you that your other favorite is not in here, whatever it may be.

00:54:17.318 --> 00:54:20.407
Just because there's only so much room in each year.

00:54:20.407 --> 00:54:23.206
And we added television as well.

00:54:23.733 --> 00:54:38.001
So because there's some intermittent television, there's movies, there's movies from around the world, there's movies that were studio releases, there's movies that went straight to video, shot on video, and everything that was indie in between.

00:54:38.121 --> 00:54:41.532
It was a remarkable decade, it was a remarkable half decade.

00:54:41.532 --> 00:54:49.518
And when you start looking at the, you know, just the, I don't want to, I don't want to reveal.

00:54:49.518 --> 00:54:53.597
But, you know, there were so many amazing titles.

00:54:53.597 --> 00:54:56.358
A, it made me so happy that I could include some things.

00:54:56.358 --> 00:54:58.487
And then I had to kill my babies.

00:54:58.487 --> 00:55:00.197
I had to kill my darlings as well.

00:55:00.197 --> 00:55:04.918
We had a bunch of things where I had the segment completed, scripted, made.

00:55:04.918 --> 00:55:06.378
I put this thing together.

00:55:06.378 --> 00:55:12.978
I was like, my God, I'm like in seven and a half hour, you know, Mark, gotta, I gotta rein this thing in.

00:55:12.978 --> 00:55:13.538
It's way up.

00:55:13.538 --> 00:55:14.577
Gotta chopping it.

00:55:14.577 --> 00:55:15.918
Gotta pull a leather face.

00:55:15.918 --> 00:55:20.748
Because, you know, talking about the scripting, one of my problems Again, good problem to have.

00:55:20.748 --> 00:55:31.001
But one of my problems is I am very mindful of how long any individual script segment should be, literally by length.

00:55:31.001 --> 00:55:37.302
And I'll always be right on the mark, whether it's within 30 seconds, longer or shorter.

00:55:37.302 --> 00:55:41.884
I know exactly how much it's going to be based on how quickly or slowly people talk.

00:55:41.884 --> 00:55:43.724
But I know how long it's going to be.

00:55:43.724 --> 00:55:49.592
And I intend to try and keep these short and sweet, maybe three minutes, maybe three and a half minutes.

00:55:49.592 --> 00:55:54.463
But then something takes over and I'm not in control of myself.

00:55:54.463 --> 00:55:56.768
I'm like, I got to include this.

00:55:56.768 --> 00:55:58.349
this is a nerd side.

00:55:58.349 --> 00:56:00.110
Everyone wants to hear this.

00:56:00.110 --> 00:56:00.681
this is this.

00:56:00.681 --> 00:56:01.641
No one's ever heard this.

00:56:01.641 --> 00:56:02.893
I got to include this.

00:56:02.893 --> 00:56:12.119
The next thing I know, my pieces are pushing seven minutes and these are just for just the movies, not even the chapters we're talking about.

00:56:12.119 --> 00:56:14.722
And I get to the point where I'm like, I got to rein it back.

00:56:14.722 --> 00:56:15.632
I got to rein it back.

00:56:15.632 --> 00:56:17.123
It's going to be too much.

00:56:17.505 --> 00:56:27.702
Yet I still made I got to cut it all down and I still have to literally cut out full movie segments that were in there and now they're not.

00:56:27.882 --> 00:56:37.961
again, apologies if the film that you really wanted is not in there and congratulations if the film that you really wanted is in there.

00:56:38.661 --> 00:56:51.596
Well, I'll keep my fingers crossed that in the future there's like a there's a, you know, in search of tomorrow, 90 to 94, 95 to 99, because I know there's a ton of stuff that I would love to see you talk about.

00:56:51.596 --> 00:56:57.353
I'm gonna talk about like Viper and SeaQuest and all of these amazing television shows.

00:56:57.353 --> 00:57:04.432
you're, since you're including, I know it would be hard with, with sci-fi in the, in the nineties because there's just so many movies, but maybe you could fit TV in there.

00:57:04.432 --> 00:57:06.014
But I appreciate it.

00:57:06.014 --> 00:57:13.177
I've, I've kept you for far too long, but I'm going to let, you know, before I let you go, I'm going to hand it off to you one last time.

00:57:13.177 --> 00:57:15.297
How can people follow you?

00:57:16.110 --> 00:57:19.672
Support you again support in search of darkness 90 through 94.

00:57:19.672 --> 00:57:23.494
You know, give them give them the deets.

00:57:23.494 --> 00:57:25.025
Yeah, absolutely everyone.

00:57:25.025 --> 00:57:44.025
Please go to 90shorrordoc.com 90shorrordoc.com all of our socials are still it's 80s 80s horror doc whether it's Instagram or Facebook or Twitter X but it runs until midnight on October.

00:57:44.025 --> 00:57:44.976
It's not even October.

00:57:44.976 --> 00:57:45.965
We pushed it.

00:57:45.965 --> 00:57:48.226
So now you get the extra weekend.

00:57:48.226 --> 00:57:52.025
So November 3rd, Sunday at midnight at the the witching hour.

00:57:52.025 --> 00:57:56.606
You can you have between now and Sunday night to get it.

00:57:56.606 --> 00:58:06.726
And you know, if you've never seen in search of darkness, I can't promise if this is 100 % happening, but I'd say it's probably a 99 % chance.

00:58:06.726 --> 00:58:10.545
Stay tuned to all of our socials.

00:58:10.545 --> 00:58:43.461
When on October 6th, we ran it in search of darkness for free on YouTube on wow For for a little anniversary present because it was the fifth anniversary it went over very very well and We're aiming to potentially do that again, and if we do it's gonna be on Halloween So if you've never seen in search of darkness, or you want to sort of revisit it get in the spooky spirit That's the place to see it YouTube is a big place, right?

00:58:43.461 --> 00:58:47.682
So you got to go to our socials and we'll tell you where and how to see it.

00:58:47.983 --> 00:58:50.443
yeah, 90shorrordoc.com.

00:58:50.443 --> 00:58:52.724
And if you were a big horror fan, tell your friends.

00:58:52.724 --> 00:58:57.606
And if you're like, love horror, but I don't really care about the 90s because the CGI sucked.

00:58:57.606 --> 00:59:00.146
Well, check out our trailer at the very least.

00:59:00.146 --> 00:59:07.048
And you might be reminded of things that you forgot and you might get a little excited about things that you'd like to discover.

00:59:07.048 --> 00:59:18.898
And I guarantee you that you will learn new things and perhaps get a better appreciation of the dynamics of all that was going on in that first half of the decade.

00:59:19.460 --> 00:59:23.143
I'll tell people it's the same reason that I started listening to country music.

00:59:23.224 --> 00:59:28.958
You know, I don't listen to it all the time, but now I dabble every once in a while because somebody was like, do you listen to country music one day?

00:59:28.958 --> 00:59:30.637
And I said, no, country music sucks.

00:59:30.637 --> 00:59:31.510
And they're like, how do you know?

00:59:31.510 --> 00:59:33.331
I said, because that's the way it is.

00:59:33.331 --> 00:59:36.193
And then I, and they're like, well, how do you know if you don't try it out?

00:59:36.193 --> 00:59:37.916
So I gave it a shot and guess what?

00:59:37.916 --> 00:59:40.940
There's some good country music out there, just like nineties.

00:59:40.940 --> 00:59:42.130
you know, horror.

00:59:42.130 --> 00:59:43.721
There's some good 90s horror out there.

00:59:43.721 --> 00:59:48.692
And even if you don't like it, there's some bad stuff that you can just appreciate because of how bad it is.

00:59:48.692 --> 00:59:50.322
So go check it out again.

00:59:50.322 --> 00:59:53.092
Thank you so much, David, for for for joining us.

00:59:53.092 --> 00:59:56.474
It is an absolute honor every time to have you on the show.

00:59:56.474 --> 00:59:59.164
You're just again, it's such a pleasure getting to talk to you.

00:59:59.164 --> 01:00:01.576
I know Chris wanted to be here very badly.

01:00:02.235 --> 01:00:05.737
My regards to Chris feel better next time around.

01:00:05.737 --> 01:00:06.336
Absolutely.

01:00:06.336 --> 01:00:06.847
And who knows?

01:00:06.847 --> 01:00:09.757
Maybe we'll cross paths at Comic Con again.

01:00:10.114 --> 01:00:11.083
That would be the dream.

01:00:11.083 --> 01:00:15.179
So again, thank you for being here and thank you for listening everybody.

01:00:15.179 --> 01:00:17.021
We will see you next time.