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Unearthing the Legends of B-Movie Brilliance · Cinema Yūgen

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G'day, that's right, it's that time again. Time for CINEMA YUGEN!
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Music.
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I don't know. G'day Cinema Yugen, welcome back listeners. Listen,
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I've seen a great many documentaries about the history of cinema and various
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genres within cinema in my lifetime.
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But I have just seen what I consider the Oppenheimer of historical cinematic
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documentaries with Masters of the Grind, directed by Jason Rutherford and edited
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by another guest that we have with us, Stevie White-Schulis.
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Masters of the Grind is an incredible documentary.
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I hope when it comes out, you get to see it in the form that I have seen it,
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the director's cut of Grindhouse, B-movie, Ingenuity, Passion, Insanity.
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The people that are in this documentary, beloved luminary, Sybil Denning,
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Clue Gulliger, Fred Olin Ray, Jim Wynorski, Larry Cohen.
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William Lustig, Vilmus Zygmunt, Brian Trenchard, Smith Graydon,
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Clark Jackhill, Don Edmonds, Ted Mickles, Al Adamson, William Sachs.
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And a filmmaker that doesn't get enough love as far as I'm concerned, Ray Dennis Steckler.
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Please welcome to Cinema Eugen, the writer and director and editor of Masters
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of the Grind, Jason Rutherford and Stevie White.
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You all, ladies and gentlemen, welcome to the Eugen.
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Thank you for having us. This is a fantastic movie, guys.
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You've made my day. I haven't spent six hours so delighted in my life.
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I'm just watching this over and over. Love it, love it, love it. You've got all the guys.
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You've got my beloved, you finally got him up there, Ray Dennis Steckler,
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the incredibly strange creatures that gave up on living and became misguided zombies.
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And, of course, my other favourite of his, which is the Chupa,
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also known as Bloodshack, which is his creepy Hornet House movie in the style of Antonioni.
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How did this all start, gentlemen?
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The masters of the groin well it started a long time
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ago not in the galaxy far far away but in in
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19 what no 2006 right and
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i went to film school at vancouver film school and i moved back to la and the
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new beverly cinema was doing these grindhouse double features which are you
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know you can see that in the movie um and brian quinn and eric caden were these two guys that really
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started this sort of Grindhouse movement.
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I believe so much so. If you watch the movie Grindhouse, there's a special thanks
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to Eric Aiden and Brian Quinn.
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It's not 100%, but I feel that Eric and Brian putting on the Grindhouse Film
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Festival at the New Beverly, which Tarantino had his eye on from a distance, he got inspired.
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Granted, he offered up a lot of his 35 millimeter prints to them as well,
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But I think he got inspired by their Grindhouse night.
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I truly do. So much so that they're credited special thanks in Grindhouse the movie.
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But what those guys did was really introduce a lot of these movies,
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some which we knew from VHS days and stuff.
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And then others, like my friend Mark Godlieb, who's a filmmaker,
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said he went to see Pieces.
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And then he saw The House That Screamed. I think that's what it's called.
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And was blown away by that. but his entry was to pieces and then he saw that
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so it started really going to the grindhouse film festival that eric and brian
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put on and they had guests everybody from like,
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graydon clark to lawrence fold is to alan ormsby and it was it was a blast and
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and and because it was before tarantino bought the theater it wasn't jam fucking pat can i swear okay.
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Right we all speak french you mentioned graydon clark i mean you mentioned graydon
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park in there another one of the uh the masters of the masters of the craft
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in there it's um it's incredible as As with Dennis Steckler,
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that these guys seem to be like the early launching pad for a lot of the big
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time cinematographers like Dean Cundey and, you know.
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And not just cinematographers, but there's a photo in Masters of the Grind.
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I think it's a Satan's Cheerleader sort of photo when Dean Cundey's talking
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about the movie van. And in that photo there, you could see a young Deborah
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Hill who started out as well, you know, along Dean Cundey.
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And then both of them graduated to Hollywood. Yes, yeah.
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Old Carpenter later on. Yeah, and then on, yeah.
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Yeah, so everybody was trying to get their start in this crazy thing. Yeah.
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Stevie, in the editing of the documentary, you obviously must be a fan of Mark
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Hartley's documentaries, not quite Hollywood and those other ones because I
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just noticed similarities.
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It reminded me of Jamie Blanks' editing of not quite Hollywood.
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Yeah, I like the loose flow. You know, just let people say what they want to
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do and just keep it going, keep the conversation going. Yeah, yeah.
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I tell you what, doesn't Clue Gallagher has some big moments in this documentary, doesn't he?
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He strips, he sings, and he sits next to a giant penis.
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He does. He does. He does that well. God rest his soul.
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God rest his soul. He was an eccentric guy, but he was such a nice man, too.
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Just to show you how nice he was on our first feature, the lead actor walked
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off the movie, and Clue's daughter-in-law was one of the leads in the movie.
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So you know he knew what was going on with the film and this league this league
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guy left the movie and clue called the guy and sort of you know you can't quit
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the movie you know you got to do it you got to can't you know the guy did leave
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the movie but it was so nice of clue.
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That he you know picked up the phone and tried and tried
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to help us out he was a great guy i really wish he would
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have seen the grindhouse documentary completed one
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of the one of the neat things that there's the great double
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interview of ross hagen and and robert
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vincent o'neill which then we you know spread out and switch
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it out and they're single shots but no one ever saw us filming the documentary
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it was just me and the cinematographer whatever but but there were a few times
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where we shot at the new beverly cinema right and a billers interview and jamaa
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fanaka and with robert and ross i came to i was in front of the clue is such a huge fan
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of the New Beverly and movies in general,
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he would be the first in line at the theater.
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And back then you didn't buy your tickets ahead of time. He was there.
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And since he was all there by himself and it was like three hours,
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maybe two hours before the doors even opened, I said, you want to come in and watch?
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So they shot it. We shot it right on the stage, but Clu was row there four or five feet from.
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So in a way he got to see, you know, some of the movie, you know,
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with Robert and Ross just going off and, and yeah, it was exciting for him to
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watch it, but also for me to see all these interviews as well.
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Everyone, everyone that would happen, I'd be like, fuck man.
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It just, this is going to be insane. You know.
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Yeah, it's a banquet. And the best thing about these documentaries,
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when they're done well, as you have done it so well, is really they become this
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great sort of like starter pack.
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You know, like anyone who has no idea about these movies has no,
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I mean, they might have heard stories.
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They've read the gossip on the internet.
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They've heard the horror stories.
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They've never seen it themselves. They can watch a documentary like this,
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just like you can watch uh not quite hollywood and all the other great films
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about wild exploitation days also electric boogaloo the wild untamed story of canon films.
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You can watch these documentaries and man you can just start writing a list
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like oh i've got to see that and i've got to see that i've got to find that
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you know like you know super cop,
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that's how i felt when i was going through all this footage you know a lot of
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these films i probably rented back in the day during the vhs well days sure
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these crazy films or horror movies,
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and anyway it brought back a lot of memories from these old yeah incredible incredible stuff,
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there's some there's some that have clips on there that i thought i
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would never see a clip of again because i haven't seen them since
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well that's that's good to hear because we wanted to
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have you got to have certain films you know
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and then we wanted to throw some sort of like some not
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even b-side some c-side and d-side just really
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a mixture of all kinds of stuff michelle levec i
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don't think that guy ever had an on-camera interview in
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his life so we were blessed to get him yeah yeah sure and then weirdly enough
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we have our own podcast too and we did like the first five six episodes about
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all all of all about robert vince o'neill so we've like angel episode and as
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i gotta say i just blanked out oh i just blanked out i'm sorry edit that out.
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What was it you're talking about the podcast and the different podcast episodes
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yeah oh I remember what it was about it was we had Andrew Davis this director
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of The Fugitive and Above the
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Law and stuff on there and he shot Angel the rubber to the new movie Angel,
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yeah yeah we were just talking to him sort of like,
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off camera so to speak or not rolling the show
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per se right and he and i
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just started talking i think he said maybe like well who else is in
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the movie not thinking he'd even know anybody and i
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was like i don't know like jack hill and the first
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one lewis and michelle lebec and then he goes what who'd you
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say and i said michelle lebec and he goes
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oh i was married to michelle's sister wow
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i got photos you want them so that kind of
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thing just happens sometimes and it's like that kismet
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and whatever and uh so that was mind-blowing so by
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just getting michelle in the movie was amazing because
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i i think i have the only and i'm pretty sure i have the only on-camera interview
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with michelle levesque possibly ever yeah i can't say i can't say that everybody
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else but that dude was pretty you know he did he did sweet sugar which is a
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phenomenal woman in prison but i think even about a film where it was on wheels
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and then he but he also was the production
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manager and art director on Ilsa, Harem Keeper, the Oil Thieves, and movies like Foxes.
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Also, he worked on several Russ Meyer movies, including Up.
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He built the, my bad, Beyond the Valley, the Ultra Vixens.
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There's this African-American woman who's got this big head.
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I don't know if you remember her.
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She lives in this little- Yeah.
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Yeah. No, I think, yeah, I'm pretty sure. Yeah, it's just a trip.
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And he built this little Egyptian here.
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But all these guys are so talented. You got to do it all to break in.
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Yeah. Oh, look. It's...
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The it's it's amazing they're all different stories but
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they're all kind of the same no that that's that
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that was what i found later on
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you know it's just really i mean like most of these guys don't even
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know each know each other right but they still were a part of this scene or
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this movement or this revolution whatever you want to call it but jack hill
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hasn't necessarily met james bryant and they're sort of competitors whatever
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but it just you know Directors don't hang out with directors for the most part,
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especially independent-wise.
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It's just great to see them all lined up. I mean, William Lustig,
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Larry Cohen, Fred Olin, right?
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I mean, Fred's just released a book, too, I think. Yeah.
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Which will be an interesting read, that one.
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For sure, for sure. And it was funny in the beginning.
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I knew there was a documentary. I started my documentary, and then I became
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aware like a year or two going into it that there was another movie called American
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Brinehouse. I don't know if you saw that.
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And I saw it, and I don't want to speak ill will about that documentary because
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that gentleman helped us even with our documentary providing some photos and stuff.
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But I was relieved that none of the questions were duplicated.
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I asked completely different questions. their movie hour and
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a half history of exploitation in cinema
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from the 20s till now whatever and mine was
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focused on the revolution how these
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guys got the shot out of it how they went at it and the
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aftermath of like getting fucked over with distributors and stuff and that
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it was just like this it's this this
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love story and even though it's a little sad because most of these guys lost
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their movies like frederick friedel said even back to fred and ready saying
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hey i saw that movie my movie's on video you know yeah yeah it's it's true because
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harry novak took every dime that piece of shit and frederick fidel.
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Literally just sign those movies over to Harry Novak and Harry Novak bought
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a big fucking mansion in Laurel Canyon and it rules Royce.
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And, and, and Frederick even saw his wife and she said, follow me up to the mansion.
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And then, and then Novak was like, Hey, look at my mansion. Look what your movies bought me.
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Meanwhile, you're, you're 23 years old. You just made these two movies.
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You haven't seen a fucking dime.
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And this guy's telling you that he just bought a house and he didn't ever saw
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a dime. Yeah. Yeah. Maybe he's seen money now with severing, whatever.
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It was like Joe Strummer in that Julian Temple documentary talking about,
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you know, the managers driving around into, you know, like a Rolls Royce or
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something and we're catching a taxi, you know.
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It's true. It's just the higher ups, they're the real pricks. Yeah.
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I love the little, who's responsible for the little cartoon panels in the picture?
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Oh, the still photos or the opening? No, not just the opening, but the stills.
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That yeah the stills that's my buddy i'll appreciate that
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my buddy from film school named charlie mcmullen yeah and
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and he he did those and then a guy named matthew theron
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did the opening animated sequence so
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to speak now i liked it because in the bit they were talking in
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the in the section where they were talking about the uh let's say
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the dilapidated state of the cinemas that
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some of these movies played in and i was quite surprised to
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hear about people taking a shit over the balcony on
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p.m oh it was it
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was nuts i mean i i went and saw young guns there wasn't.
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Quite the you didn't get shit on did you no i
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didn't get shit up but i but i walked in the bathroom and i walked
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through a foot of piss i felt like it was oh no
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but geez but yeah so
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that was that was important to really for charlie to obviously you
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can find plenty of photos of of marquees
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on 42nd street just millions of them online but what
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you can't find is someone taking a shit off a balcony stuff like
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that charlie came in handy and i also felt and
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sort of embraced that it it reminded me just because
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it's rough and gritty it reminded me of like a ralph baskey type style you know
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and ralph you know really a lot of his movies were played the grindhouse circuits
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as well um especially i mean the number one baski movie is coonskin,
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that movie it's a blaxploitation movie it's yeah yeah it's a cool i don't know
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what it is but tarantino loves it it plays at the new beverly a lot i've seen it.
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Yeah so we're trying to just do that and and lucked out that charlie had this,
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yeah it's crazy like after i
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saw that i thought well i used to complain the
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most hardcore thing i saw when i was a projectionist at a movie theater is the
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one day the manager came to me and he says i need you to go down with the torch
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and talk to this bloke in the front row it was during the first run of showgirls
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and there was a bloke down the front row pleasuring himself and people were
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complaining and yeah it's i thought that that was an awkward situation
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to walk down and tell someone to you know put it away all the repressional repercussions
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but i couldn't imagine being the usher like someone clean up someone's you know breakfast.
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That's just been launched over the balcony onto some
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poor punter who was just there to see the show you know that's that's
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that's the rub though is that you know the lights never went on in
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these places so they didn't get clean very much so we're talking
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about you know some dicks of shit it may not
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get it may not get discovered till nine years
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later i figured it was i think it was was it lloyd
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i figured it was in the documentary he says you don't know whether this
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you i think it was lloyd kaufman who says you didn't
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know whether your shoe stuck to the floor whether it was like coca-cola dried
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coca-cola or semen yeah yeah yeah
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it's it's crazy it's jesus christ i'm trying to turn my
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phone off steve you're all right they're lighting
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up like people want this movie be so bad you just
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messaged i should i should have done that yeah there we go we could they're trying
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to get you you're a hot guy in town yeah thank
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you thank god i appreciate that we're trying and we're
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trying to just do more and and and and
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keep it going and other projects we're
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trying to fund like helican about a possessed pelican that
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it's not easy it's it's it's we're playing the greenhouse game the same thing
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that these guys played except we have a little control a little little more
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control well like it like most of them say towards the the last segment of the
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documentary a frequent phrase is you know it's a wonder how any movie gets made.
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Yeah it's true it's true i mean you know and we haven't even sold our grindhouse documentary,
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either i think you remember the which reminds
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me of the five stages production you know pre-production production post-production
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distribution litigation remember that part yeah yes but we're on distribution
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and it's still it's it's a pain in the ass you know it's it's it's such a shame
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i spoke earlier earlier this year with another lady who's made an incredible documentary
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about albert peon the late great albert
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peon and she is in exactly the
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same situation as you fellows are she's trying to get it in festivals
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and stuff trying to get someone to pick it up it's a brilliant like yours an
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absolutely brilliant movie and again like a starter pack if you have no idea
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who albert peon has never seen any of these films you'll watch this and you'll
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watch it with a pencil and a paper and go oh i've got to watch this this this
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this and was Lee Horsley in the documentary.
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Was sorry Lee Horsley was he in the documentary oh hang on yeah yeah I think he was,
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he's been a while since I've watched it is he in the sword and the sorcerer
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the sword and the sorcerer yeah I think he's in that just one time I tried to
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get him out to the sword and the sorcerer at the New Beverly before Tarantino,
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had his number for IMDB and it was I wish I would have saved this recording
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but he was like hey Jason it's Lee and I grew up with Matt Houston,
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this big show that he was on. Right, right. Yeah, yeah, yeah.
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And I was just, man, I wish they'd saved that.
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Yeah. I actually have saved the message. I have a message from Fred Williamson.
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Oh, nice. That I have saved.
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I was interviewing him some years back. He was in an independent movie and I
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had just interviewed the director and the publicist set me up with Fred.
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And so I call him at the time and his phone rings,
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It, it, it goes to voicemail. So I say, hello, Mr. Williamson.
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This is, you know, whatever.
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And I hang up the phone and then someone was the door and I got to answer the
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door and he calls back and he, the message says, yo, this is hammer call me back.
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And I was like, how awesome. So I still have that. That's that's one of them.
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When he, when he used to come to the new Beverly came one time for,
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it was a great screen and they showed in the original inglorious bastards
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with enzo castellari bo svenson
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and fred williamson all all in attendance for a
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q a oh he he went with bo there he hates it he told me he hated him fred well
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he might have but they maybe he didn't know he was going to be oh okay well
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i suppose it was in public you know keeping up appearances it was in public
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but i think i went I went to my car to like, you know, smoke a bowl or something.
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And, and, well, and then I have, you know, Fred has, he has a Hummer. Right.
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It says hammer on the, on the, on the drivers.
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So it's like, you can't, it's a yellow, I believe Hummer. And it's just hammer. That's beautiful.
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That's beautiful. When, when, when I call him on the phone, he says,
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I'm just sitting on my patio and it's raining and I'm smoking a cigar.
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And I was like, Fred, there's no better place in the world to be, right?
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And he says, yeah, I love the rain. It reminds me of New York and I'm smoking a cigar.
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He's a tough cookie. He's a tough cookie though. I went up to him because I
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think he's in American Grindhouse too and I said, hey, I'm doing a Grindhouse
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documentary. He's like, I already was in it.
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That was just that he's already did it and i'm like no it's just different you
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know that was difficult i was
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started something before i didn't finish which i was in the
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beginning when i saw american grindhouse i saw that they had like william lustig
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and larry cohen and jack hill and like six or seven guys and and i went i need
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to get all those guys yeah and then i and then i and then i wrote like a dream
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list and i had getting everyone on the dream list as well and then like a
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bonus list and I got everyone on that list as well.
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I think the only person that we didn't get was Fred and Roger Corman and one or two others.
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And we did actually, not this fine gentleman, Stevie, but my previous editor
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ran off with about seven or eight interviews that unfortunately.
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Full Sid Haig interview, full Sid Haig interview, gone, stolen.
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Full Vilmo Zygmunt interview, interview maryland joy
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just to name a few so this documentary
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is amazing but we even lost a few thank god
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i had a spidey sense because i knew my editor this
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lady was a asshole i just and i and i and i i said i need all the mini dd tapes
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you know and i got those back because if i would have lost those i would have
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lost everything it was a shame but yeah it's been a long road but look and then
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Look, it's well worth the wait.
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You're sitting on a gourd, mate, once this gets out into the world.
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Certainly fans like me who love all the, I love this stuff.
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You could put this in a bath and I'd drink it.
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If you added another hour, you'd be fine with that?
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I'm going to go watch it again when we're finished. I love it.
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I think it's great. Eventually it'll be like seven episodes,
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you know, on a streaming platform.
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That's what we're trying for. Yeah. Because I was about to ask you guys,
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because this is, it says director's cut on the sample you gave me.
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So obviously when it's screened at the screening that you've had,
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did you show this version or did you show a shorter version?
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We did. We had a friend of ours. i'm not going to say who but a well-respected
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editing friend tell us to cut it the down,
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okay and this guy is an orson wells level person i don't want to say his name but he's a huge guy,
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and we listened to him and and so we just i went through the movie again and
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and we whittled it down to about an hour and 50 wow and i was fine watching
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it like the first time and then And I was like,
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where's the story with, about Aldo Ray?
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Where's, you know, and I was like, shit. That's just a lot of great content.
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That just helps. All the best shit was taken out of the movie and it was just so arbitrarily cut.
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It was just, you know, stuff was extracted without thinking of the effect of,
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and it just needs to be long.
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So this last film festival we played three weeks ago, they gave us a choice.
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They said, do you want to show the long version or the short version?
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The short version is going to get you a better slot, a better day.
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But when we showed Masters of the Grindout, we got the shittiest slot.
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We got Father's Day, 8 p.m. on a Sunday.
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But I'm still glad that we showed...
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Director's cut and not the the director's cut basically is
24:58
the theatrical cut yeah and and
25:01
the that shorter version will never see the
25:04
light never do anything with that you know yeah it
25:07
just it was it was a bad mistake but you listen to people you you respect and
25:10
you go and then you but i think it's it needs to be episodic that's really the
25:15
way you've got to absorb all this content it's you know yeah but to the right
25:19
people like you you buddy you you you can digest these he's just digested it
25:23
twice. And what's the third time.
25:25
So to the right person, here's another example. I don't know if you saw on face.
25:29
We, we, David Dakota wanted to be in the, we asked David Dakota to be in the documentary years ago.
25:33
And for some reason he didn't want to be in it.
25:36
Then he just saw that we were winning all these awards or whatever.
25:39
And he said, can you send me the movie? If you, if I like it, I'll give you a quote.
25:41
He emailed us back and said, fuck, I should have been in the movie.
25:45
Fucking brilliant. And then his quote was masters. The grind is the most definitive.
25:49
Definitive grindhouse documentary of all time.
25:51
Stunning. funny so it is it is
25:54
so that was great but the but he loved
25:58
it donald farmer loved it mark hoik who's who's
26:01
in it and loves grindhouse they all loved it they all you know mark was donald
26:05
farmer called it you know the triumph of the will or the sorrow of the pity
26:08
of grindhouse documentaries which is funny and mark hoik said you know if something
26:13
like if kim burns can do an eight-hour documentary on baseball why can't jason
26:17
rutherford do a four-hour documentary on in the grindhouse. But it's great.
26:20
And you as well, and those three gentlemen, they are grindhouse junkies.
26:24
So it didn't... They didn't mind.
26:28
Love the stuff. I'm actually thrilled that I finally got to be sort of part
26:32
of it because I finally broke into low-budget films because I've always wanted to look very easy.
26:37
And I've got a vampire movie coming out this year. The Vampire and the Vigilante.
26:43
That's what it's called.
26:44
Oh, nice. Hey, Greg, congratulate. It's not easy. Michael Paré's in it.
26:48
Eddie and the Coilers? Yeah. Fuck, man. Yeah. You don't have to...
26:52
I know Michael Perri. He was in some movie called...
26:56
Furnace i've never seen it but it's
26:59
a horror film and i got i had the free poster my other buddy larry's in it too
27:03
and but i had nothing else for michael parade aside so he's my furnace poster
27:07
says you know michael parade and he lives you know that's all yeah i actually
27:12
interviewed him the last i finally got him on the show last year during the
27:16
actor's stroke i say you got no,
27:18
you've got no reason what's smart about you getting michael parade into your movie and i'm.
27:26
That can really get you distribution. Oh, sure.
27:29
Yeah. Look, I mean, I know the director was upset about, I remember him telling
27:34
me, Rene Perez, he was telling me that he hated the, he got this really nice artwork done.
27:39
And, of course, the distribution, this was in the Western that he did that I wrote.
27:44
And the poster, of course, I don't know if you can see it on the wall behind
27:47
me, but it's very nice and artistic up there.
27:51
It's hard to see, but. but the the dvd of
27:54
course the art was changed just to put michael paré you
27:57
know front and center because people are going to they don't
28:00
give a crap about roger's blood but if they see a michael paré movie yeah yeah
28:04
with michael paré's massive face you know just basically dominating the cover
28:08
you got a shot you got a disc distributor you know he's great he's a nice guy
28:15
i'm my streets It's a fire signed by him,
28:17
Deborah Van Valkenburgh, and Walter Hill. No.
28:20
Awesome. Awesome. This is an awesome documentary, guys.
28:24
Before we run out of time, ladies and gentlemen, all the links to the trailer
28:28
and where you can catch up on Jason and Stevie's work.
28:33
Let's hope, let's all get down, Uganites, and send out a little prayer to the
28:38
movie gods that Masters of the Grind,
28:40
definitely this version, the director's cut,
28:43
the the explosive banquet version it's like an all-you-can-eat buffet of all
28:50
your favorite grindhouse and man i i just want to keep eating it till i get
28:55
sick because i think it could be incorporated into future online film schools.
29:01
Totally. I mean, it's a history. It's almost like an encyclopedia concentrated
29:07
in Encyclopedia Britannica of some of the greatest, wildest,
29:13
most insane cinema that ever was.
29:16
Once hey we're just glad we completed it now
29:18
we just want to sell it and we're more than more than thrilled
29:21
that that that people dig it you know
29:24
i mean that's you want people to see your movies making money yeah
29:28
you want to make money but you want people to see it you know and so
29:32
i'm so glad that you you you saw it and uh it's a
29:34
labor of love for sure it is it is it's
29:38
it's it's a triumph tens of thousands of hours
29:41
it's the open it's the oppenheimer of
29:44
of of uh historical cinematic
29:48
documentaries that's that's the quote
29:51
we need from you there we go oh you
29:54
got to write that down on social media there you go i will i'll put it when
29:57
i when i post about this i'll i'll say that yeah masters the grind is the oppenheimer
30:02
of of historical cinematic documentaries it sounds fitting and let's just hope
30:11
that you don't go through the same amount of shit that Paul Oppenheimer did,
30:14
trying to get his point across yeah we're trying to just playing festivals,
30:19
getting the movie out there slowly, getting podcasts.
30:23
We're not going to jump if anything we'll
30:27
self distribute in the future if we don't find a
30:30
deal or don't get a deal we'll just self distribute yeah I'm
30:33
ready to just be like fuck Hollywood because i mean you
30:35
you need you need certain things but at the same time well
30:38
we're gonna do our own distribution in the future eventually anyways
30:42
yeah out there yet well that's
30:45
that's awesome lads because the world needs it the world needs you the world
30:48
needs masters of the grind thank you jason rutherford and stevie wit wit chulas
30:54
the wit chulas that lurks in the deep dark woods thank you for being on cinema
30:58
yugan gentlemen thank you buddy we appreciate it it It was fun.
31:02
Yes, this is an awesome documentary.
31:05
Follow the links in the description. I can't wait for it for you.
31:12
I can't wait for it, for you to see it, because it's awesome.
31:18
Masters of the Grind. I'm going to go watch it again and again and again, because it's awesome.
31:24
These kind of films, time capsules, but
31:27
they are also important historical documents of a
31:30
time that'll never be repeated masters of the grind catch
31:34
it however you can whenever you can however you can and as always thank you
31:39
little yuganites for listening to us on spotify or wherever you choose to listen
31:45
to your favorite podcasts i'm kent hill and we'll see you next time on the one and only cinema.
31:55
Music.