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Todd Sheets Unleashes Werewolves in Space · Cinema Yūgen

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G'day. That's right, it's that time again. Time for Cinema Yugen.
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Yes, welcome back Cinema Yugen. Todd Sheets is a filmmaker unbound by the concept
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of you need a truckload of cash to pull off epic on a low,
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low budget, but with Wolf Moon rising he He smashes together all the B-movie
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mastery from the likes of Roger Corman, Jim Wynorski, Fred Olin Ray,
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and delivers practical genius along with laughs,
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monstrous mayhem, and gore galore on the dark side of the stars.
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It's a howling good time with Wolf Moon rising. Please welcome him to Cinema
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Yugen. Here he is, the mighty Todd Sheets.
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G'day, Todd. Man, thank you so much for having me on the show.
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Thanks, mate. Jeez, it's been a while. I was looking at one of our old interviews was 2018.
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Jeez, that feels like a long time ago now.
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Yeah, that's true. If time flies, it really does. I know, but I mean,
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that's it, but it seems like a whole different world now compared to then,
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even though- It kind of is.
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Because it's kind of a lot happened in there, but-
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When I saw the write-up for your movie and what it was promising,
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Werewolves in Space, Wolf Moon Rising, talk about it, mate.
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It's a lovely, lovely, loved it, love it, love it, great, love werewolves,
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love werewolves in space.
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I think there should be more things in space.
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Well, I appreciate that. But yeah, man, it was kind of a thing where,
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you know, I've always loved werewolves and I've always loved these great lower
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budgeted kind of alien knockoff movies that I don't, I don't like to call them
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ripoffs because I think they were inspired by alien, but in a lot of ways,
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they're way different than alien.
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And in some ways I even liked them a lot better than most of the sequels to alien.
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And, you know, you got movies like creature and, you know, of course,
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horror planet and things like that.
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But I got really inspired by movies like Galaxy of Terror, Forbidden World.
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The Terror Within, things like that. And, of course, Battle Beyond the Stars.
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Loved the Roger Corman factory and how they combined sci-fi space movies with
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horror elements and had creatures and monsters and weird slimy things and gore.
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And I thought, you know, I really want to make a movie like that because it's so inspiring.
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And, of course, we've had such terrible weather in the Midwest here in the United
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States, and the weather was just pummeling us with rain every weekend,
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winds of 60 miles an hour.
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Our average wind speed here now in the Midwest is 45 to 50 miles an hour these days.
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And so I was like, every time I try to film outdoors, it knocks the equipment over.
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You can't hear anything or everything's rained out. And so I was fed up.
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So I was like, I think it's time for me to do a space movie because I could
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build the sets myself and we can just set it all in space.
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And that kind of prompted me to sit down and put my favorite movie monster of
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all time, werewolves into space. Yeah.
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Genius stuff, really. I loved it.
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I loved it. I loved it when Brian Trenchard Smith finally wrote his book and
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told the story about Leprechaun 4.
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Oh, yeah. Have you heard the story? Have you read it? I have not.
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Well, I mean, it is like as, as, as ironical as it sounds.
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It's literally he like, it's like
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the pitch you wish you could go in and
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do and then just say sure right
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and he just went in the room and like he had
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come off the success of leprechaun three in las vegas
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which did very well and they said
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we want to do another one and we wanted to be in
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space oh yeah and he was like oh this is good he says you know we could do it
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like this is totally like there's a dude taking a piss and you see this green
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orb go up the stream of liquid into his penis and then later it's like alien
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and the leprechaun shoots out of his crotch.
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And then there's silence and the next minute that's
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fantastic yeah can you do that yeah why not
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of course we can do that and you know
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thus an industry was born you know a lot of people think that that they've run
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out of ideas when they they send it into space like sharknado went into space
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and Jason went into space and
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Leprechaun went to space and I wish we could have seen Machete in space.
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I don't think so. I love it. I think it's great.
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I think it's a whole, I think if there were more in space movies,
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I think there could be, you know, it could be like its own sub genre almost.
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Well, I like the fact that I had my characters there. They were stranded.
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You know, the other ship that they had that they got the werewolves from,
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the distress signal ship that they went to, And these people turned out to be werewolves.
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You know, that whole situation was that ship blew up, so they couldn't use it.
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So they're pretty trapped on one ship, and there's really nowhere to go because
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they're in the middle of space.
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Their shuttles certainly aren't going to make it all the way back to Earth.
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So, you know, I really liked the fact that I could trap them there with these
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monsters, and the monsters could hunt them, you know, like they're prey,
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like they were in the middle of the woods. Only it's not the woods.
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It's been transposed to a ship. Yeah, certainly.
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And we should mention your great cast. A couple of my favorites that I want
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to throw shouts to, Douglas Epps as Hawk.
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I love some of his.
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I like his back and forth, actually, with Jack McCord, who's Dr.
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Frank Savage. I love that Doc Savage.
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He's got some of the best lines in the movie. Like, I love it when the chick.
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Oh, no, I shouldn't spoil it. Crap. No, hang on. I love it when a certain thing happens.
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And I think it's in the delivery of the line, more than the line itself.
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But he turns to everybody once he sees this thing that happens.
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And he says, everybody grab your blasters. You know?
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Yeah. And I love his, like, what is it? San Fran-tastic.
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That's San Fran-tastic. And, uh, what's the other one? Well,
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isn't this just the icing on this shit cake? Yeah.
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I kind of like it too. When he's standing there watching this guy transform
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into a werewolf that they've taken back to their ship to try to help.
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And the guy is just like morphing and turning into this thing.
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And he looks over at everyone and goes, well, you certainly don't see that every day.
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It's got some great lines. I remember when I was writing it,
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I kind of wanted that to be our version of,
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you know bones from star trek
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i wanted it to be a kind of a crotch yeah yeah yeah yeah
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he yeah he does give off that sort of yeah he's
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cranky but fun and but i mean he was he was the one when he died i actually
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was like that was kind of sad i was like oh damn i wish the doc had wish the
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doc had admit but he didn't that's the cool thing about our movies because we
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don't really have any rules about anyone can go at any time,
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even the main character, like back in my film from 1996,
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Violent New Breed, halfway through the movie, I was reading a book and the book
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was about screenwriting.
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It said the cardinal sin is never kill your main character.
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And so I said, I've got to do that. And I did, but I switched it over to another
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main character and it was so smooth that it actually worked and people really seemed to like it.
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So you never know what we're going to do when i'm writing it i just
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i have an outline but that may even get thrown
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away if i'm on a roll because i just want it to go where
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it goes where the story takes it and that's where
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the story took it and a lot of really cool characters had
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to get i mean someone's got to go so the werewolves had to take out somebody
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and uh there's only a handful of characters here that that they can work with
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so those guys had to go yeah totally and um i i have to give you a lot of props
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for you know i mean Compared to a lot of movies out there,
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your movies are made for, you know, very, very little money.
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And yet you still manage to pack so much. I mean, this thing's got special effects.
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It's got practical effects.
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It's got the werewolves are fantastic.
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It's got, you know, realistic gore effects with the blood tubes. I mean...
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It's, it's everything. Like it's all part of your complete breakfast.
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You know, how, how do you, how do you, I mean, obviously you have a lot of talented,
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collaborators and whatever, but how do you manage to pull so much?
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How do you fit such a lot of taste in such a little biscuit, Todd?
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Well, you know, that's a really good way to put it because I used to be told by,
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you know, a lot of the guys that are my mentors, which is like Fred Olenaray
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and Jim winorski and david dakoto was definitely my mentor back in the early
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days and these guys all worked with roger and i remember being told even by
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julie corman when i got to talk to her it was.
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Always deliver the groceries if you promise to bring
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the groceries make sure you deliver the groceries the
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worst thing in the world is if you have a really cool trailer and a
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great poster and you don't deliver the groceries so right
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we we find a way to do it and it is true
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you know this movie had a very small budget you
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know it it was a four-figure budget very very
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small uh you know we were in we were in the
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mid four figures here and we got through it basically
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because we've made so many movies over the time we own a lot of our own equipment
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right and you know we went everywhere we could trying to find things like i
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went to auctions to find the parts to put for the spaceships for their control
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panels and things and the panels on the walls you know i i found those and bought
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a bunch of those as cheaply as possible.
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And I did the work myself to build the sets. The first half,
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the sets on the bridge and the sets in the sickbay, those I built myself.
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And then later we had this amazing airplane hangar where they fix planes.
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It's a school also, and they basically teach people how to be airplane mechanics.
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And in this place that Jack McCord of all people, he's a teacher there.
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And in addition to being a great Doc Savage, he's also a teacher. and he's
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been able to get us this location. And then we took some of our panels and things that we'd used.
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We shot all the stuff in the bridge and in the sick bay.
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And then I took those panels down and took those over to the hangar and put
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them in places there so that it would match.
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And we were able to shoot there. Of course, it was 120 degrees.
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We were shooting this thing in the end of July and early August.
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And so we were able to milk everything out of it, but it was very,
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very warm and our panels didn't want to stick.
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And it was just a constant battle, but it's worth it because we were able to
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really get a lot of production value that way and make things over the top and
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as big as we wanted them to be.
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And we tried to make it very true to the Corman School.
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Jim Winorski was kind of my unofficial consultant on this.
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And we would go back and forth. And he had told me so many stories about how
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they built those sets that I knew going in exactly what I was going to be doing
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to build these and how I wanted them to look.
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And I'm really, really proud of how it came out. And for the money, it's unbelievable.
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I mean, I've had people think that we've spent, you know, 10 times,
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20 times as much as we did.
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And it's really, it's, it's really a blessing to have that, you know,
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and of course with the Wolf suits, we had some of those suits left from Bonehill Road.
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We took really good care of them. And then we got new heads to put in there
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and the new heads were expensive yet amazing.
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And for the quality we get, it's not expensive at all, really.
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I mean, honestly. And the guy that did the heads for us, Kyle.
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He also did the suits for Bone Hill Road.
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And he is just an amazing artist and knows really how to bring the most for the dollar.
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And he always really helps me because he knows we're doing this basically with no money.
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So he comes in and I think he takes pity on my poor soul or something and he helps me out.
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And the effects department was headed up by Amanda Payton and Jeff Sisson was her assistant.
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And Ricky Williams came in and helped and we had a bunch of people helping
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on the effects crew and we just utilized anything
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we could find and did the best we
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could with this stuff and it was kind of by the skin of
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our teeth and you know just pulled ourselves together
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and everyone pulled together and like I've never taken
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a salary on any movie I've ever directed because if
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it's a if it's paying myself or buying a
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werewolf I'm gonna buy the werewolf every time you know
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no one watching this movie cares what i made they care if
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they enjoyed the movie and if the monster looked good and so
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that's what we do you know yeah that's the
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that's the big thing that that you worry about going in is if the if the monsters
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aren't any good then it's gonna be you know like even if you go back look i
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really love that old um tv movie gargoyles and we love it yeah and i I mean,
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that works because I think the guard, like I know some of the foot soldier ones
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are kind of a bit odgy, but the lead dude...
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You know those are brilliant brilliant
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creations because i love that movie myself very
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much and you know for the money they had they didn't get
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any money for this thing and they put all their money into these
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cool monsters and having them fly and everything and they did a great job
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yeah and i mean the the the build-up
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is enough i mean because you've got some really great shots particularly
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in the the opening scenes kind of the the pre-credit sequence or whatever you
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want all at the the opening action sequence you've got some great you know almost
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like the first thing i thought when i watched it was aliens like the the below
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like the lighting from under the floor and.
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You know it's it it gives it a different look as opposed to you know just harsh,
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lighting but you've got some great sort of color gels and and stuff and the the below ground,
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the lighting from beneath just really gives it that great
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atmosphere and also makes probably what
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is probably in real life a relatively small space
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look large true yeah that's that's the thing
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you know we had a few of these hallways where basically it
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was a storage area and they had multiple levels to it
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so that made it perfect because that meant they had
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a floor above us that was made of grating and so
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we were able to use that and light from below and really
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try to get suspense out of the lighting we wanted it to
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be kind of creepy we wanted it to have that look
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i mean when you go back and you watch galaxy of terror or
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you watch about even battle beyond the stars i was just noticing because
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i just watched the 4k last night and i was like wow man
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this lighting really is a lot like some of like when they're in
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there and there's the green and blue popping and uh they're
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talking and he you know douglas is like i broke the
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darn scanner and that lighting is almost identical
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to battle beyond the stars lighting and that was of course on purpose but the
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funny thing is i hadn't seen battle beyond the stars in years i was doing it
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from memory and i was so surprised i mean i'm i think i'm going to get a screen
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grab from it and put that with a still from the movie and show how you know
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on social media and show how.
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Influenced it really was by by these artists i mean even jim cameron you know
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james cameron got his start on these corman movies and it shows you know and
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of course in the movie one of my favorite parts of the movie that some people
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don't pick up on is in the opening there, when you have the Charon 13,
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which is the ship that's having all the problems that the Amberstar ship is
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going to save, the captain of that ship is sending out this distress signal.
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And it's great because it's Joe Dante. I mean, you can't get better than Joe Dante.
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That's fantastic. And what makes it perfect is it's a werewolf movie.
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And you've got the guy who directed The Howling.
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In a way we've done in space, which is just fantastic.
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It also made me think of Philippe Mora's sequels to The Howling 2,
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particularly The Marsupials, which I love probably because of the Australian connection.
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But certainly Howling 2, there's a great, you've got that great mix of that
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serious, funny kind of walks that line in between.
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There's some great throwbacks to the like, like Bobby Westrick is,
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you know, got some, some nice drops, you know, I never told me the odds and
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he's got the jackpot line. Keep the home fires burning.
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Exactly. We're not back by dawn to all the president.
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That's exactly, you, you picked up on all that and that's exactly what we were going for.
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I wanted a, a hero, a captain of this ship that is completely like a son of those characters.
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You know what I mean? If those characters had a son, that's him.
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He had the same wit and the same humor and the same grit, you know, in his delivery.
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And I thought the entire cast really stepped up and did a great job.
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But, you know, Bobby, this character, John Apollo, meant a lot to me because
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the whole Amber Star thing came from my childhood because I used to shoot movies on Super 8.
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And, of course, after seeing Star Wars, it changed my life. And I started making
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these space movies of Star Wars kind of mixed with a little Star Trek.
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And I made these Amber Star movies and John Apollo was the captain.
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And so now, of course, we were kids back then doing it, but I really wanted that angle.
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So when I thought about the space thing, I thought I'm bringing back the Amber
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Star. I'm bringing back John Apollo.
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And, you know, in the ones when I was a kid, his first officer,
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his second in command was Tom.
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But I changed it to Tanya because I thought it'd be cool to have.
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A strong female lead second in command. And I, and I'm one of the things I loved
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when I watched the movie after it was all done, because when you're editing, you're so close to it.
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You just have to kind of wait, then take a couple of days off,
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then watch it, you know, when you're finished. And I, I loved how strong all
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the female characters are in this.
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And that came directly from Roger Corman as well, because, you know,
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he really supported strong female characters in all of his movies as well as
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promoting a strong female directors even, and producers.
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And he, He was very much into that, and that's something that I love because
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it came through, not even consciously, it came through in the writing and it
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came through in the production.
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Roger's spirit was guiding us on this thing. I believe it with all my heart.
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Well, another thing that you carry on very much that is in line with the Corman
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School of Filmmaking is because you are shooting it for a low budget,
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you can be audacious with your storytelling.
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Like you know if you were
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to turn around and say look i've got if you turn around
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and say whatever the budget for the film was to someone hey
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you've got x amount of dollars to go make a science fiction werewolf movie in
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space most people would probably laugh at you but if you're from that common
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school perspective yeah yeah sure why not i have to tell you honestly there
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There were times when we were doing this,
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it's always, it's hard because you have to keep the spirit alive and the positive energy.
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But there were some times when I thought to myself, man, am I going to be able to pull this off?
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You know, I wrote the script for what I knew I had, but how am I going to,
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you know, like the black hole sequence is one of my favorite sequences in the
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movie because I'm like, okay, we have like no money and compared to Hollywood, we have zero money.
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And I'm supposed to be doing a huge scene where the Charon explodes and it's
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such a big explosion, it rips a hole in space and it creates a vortex and a
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black hole, which then starts pulling the Amber Star in.
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How the heck am I going to pull this off? Because while these guys are trying
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to help these survivors...
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The bridge is going crazy because they're like, get up here,
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captain, because the whole thing is going, you know, we're about ready to get sucked in a black hole.
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How am I going to do this? And the end result, it's one of my favorite sequences
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in the movie because probably I was so worried about it. And I really love the way it came out.
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It actually had people, you know, we just screened the movie night before last
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and people went nuts over that sequence.
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They were kind of on the edge of their seat. They're like, get out of there, get out of there.
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And people were really getting riled up. And I said, this is amazing because
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literally I was, you know, fighting and fighting and redoing the effects,
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the visuals and everything because I was doing that myself.
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And I was not happy and I just kept tweaking it and tweaking it until it finally
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came exactly like what I wanted in the script.
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And I was so proud of it because it actually moved an audience and we did it
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for literally like non-existent funds.
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You know, I mean, these, these guys in Hollywood would have spent probably a
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couple of million dollars on a sequence like that.
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And we literally did it for, you know, maybe a hundred dollars for the fact
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that I had to get some software to do exactly what I wanted it to do.
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So it was like, just had to learn the software and then took the time.
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And that's what it is all boils down to.
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If you don't have the money, you have to take the time. Yes.
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Yeah. like there's there's no point in there's no
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point in because i mean look there are some
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look and i've seen a lot of independent movies and there
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there's there's chintzy and there's chintzy
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there's two different and there's
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chintzy charming and you know chintzy trash
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and right but there is
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some stuff that people might call chintzy trash but
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all the all everything is there except
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for the way it looks you know what i mean right like
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it's a good story there's a good cast it's it's well
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told but it looks bad look it
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looks like it was yeah really really cheap
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and that can throw people out but if
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you like you say take the time to even
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even though you mightn't have everything and all
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the bells and whistles that you really really want and like you know if you
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really had a suitcase with a million dollars you'd solve that problem but like
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you say if you take the additional time to make it as good as you possibly can
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for the money that you have you do have the opportunity to.
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To make it stand taller than it actually stands, if that makes sense.
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I agree. And that's one of the things I really loved about Wolfman Rising is,
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you know, since we owned all the gear and when we do make any kind of profit, we just buy bigger gear.
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I thought the look of this movie was kind of beautiful for what we had.
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I was like, this is really a beautiful looking movie.
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And that is, you know, you touched on something very important that a lot of,
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especially micro budget guys, I guess they don't think about.
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And that is, you know, right now in the world, it's kind of like the VHS days
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all over again in the streaming market.
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I've been saying this. Yeah, keep going. There's like 900 people a day making
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a movie, especially now since it's so easy, compared to those days on VHS where
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you really, that was hard.
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And now you've got, you know, you can do it all on your phone even.
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And, you know, so people have to think of the look and the sound.
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You have to make sure you've got good sound, you have to make sure you have
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good sound design, and you have to make sure visually that it's able to compete
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with other films in the market.
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And that was my number one thing is that I want it to look as good as we can
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possibly make it look so it doesn't look like we spent $0.30.
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Even if we did spend $0.30, we can make it look like we spent $30,000 instead of $0.30.
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You just have to, you just have to play with how it, you know,
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you have to learn your craft and you have to play with your shots and make sure
24:25
that everything looks as good as possible. Don't shortcut.
24:28
I mean, there's times when it was 120 degrees and we had a dude in a wolf suit.
24:31
They could only be in the suit for 10 minutes at a time. Then we'd have to stop,
24:34
put them in front of, we had literally around me, there were rows of these huge,
24:39
like four foot tall fans in a circle.
24:42
And we would, I'd say, cut, pull him out. They'd get him out of the suit and kick on the fans.
24:46
Then we'd wait a few minutes to put
24:49
him back in the suit do another shot and so it
24:52
was meticulous and there's times that when it's like that and you know
24:55
you've been on the set for 10 hours it's four o'clock in the morning and
24:58
you're going what am I going to do I just need to get this scene done
25:00
and you want to push yourself and cut corners don't do
25:04
it you know just do it right even if
25:07
it means man I ain't getting home until daylight
25:10
it's going to be eighth morning but hey you know what you're
25:13
going to be glad because the shot is worth
25:16
it and that lives forever so once
25:19
it's out there it's out there and it's going to stay out there and one
25:23
thing i learned from the early days when i wasn't real
25:26
good so i was just a kid but always take
25:29
the extra minute to make it that much better
25:32
yeah and that's what we did on this we just you know we didn't rush ourselves
25:36
and we didn't cut corners we just said you know what if it's not right let's
25:40
keep shooting it till it is yeah and i think i think too much today people just
25:45
give it the squint test you know like yeah it looks good whereas my wife says
25:49
good enough for government work you know there you go.
25:54
A bit of a spit in the polish, but it's, as you say, definitely worth it.
26:00
And to have all the goodies, all the callbacks to all the films that I love
26:07
from a time which has sadly fallen
26:10
by the wayside in this slick and speedy climate of the streaming age.
26:16
But like you said, I feel it's just like a rehash of the VHS days,
26:20
except there's no tapes.
26:21
Hey so there's nothing tangible but it's still like
26:24
oh hey there's all these streaming services and they
26:27
need films so anyone with an iphone and
26:30
an editing software on their computer can effectively
26:34
add to the you know i mean
26:37
i hate when they refer to
26:40
movies as content but me adding to the
26:43
adding to the content stream because i
26:46
mean the sad thing is is that when they teach media
26:49
in schools now it's it's all it all falls under
26:52
content creation so whether it be narrative as
26:56
as is classified in the educational terms narrative content
27:01
storytelling right and you're
27:03
absolutely and you know my thing is you know i'm very
27:06
much still a child of physical media and so when we
27:09
do these movies i want them to be on physical media first
27:12
eventually they're going to be streaming but but one of
27:15
the like a movie like wolf moon rising should not be watched on a
27:18
cell phone you know what i mean i mean you can't see the detail we really.
27:21
Put a lot of work into the details on this the
27:24
backgrounds and and the the space scenes i
27:27
mean they don't have the grandeur seeing that on a big screen
27:30
you know doing this theatrical tour and seeing the audience reaction to
27:33
these big huge screens with these these
27:36
space shots and the you know and all the fighting and the
27:38
werewolves it really shows a
27:41
difference plus we did a full you know dolby surround
27:45
mix that is beautiful and sounds great and great
27:48
store thank you i mean and i've
27:50
got to say the transformations in this are really dynamite i
27:53
think that's that's another place to is particularly
27:56
in werewolf movies like if the transformation's crap and then the overall transformation
28:02
is crap then it takes me out of a werewolf movie if the werewolves look shit
28:07
but thank thank goodness that Wolf Moon Rising does not have a dodgy werewolf,
28:16
You know, I was, that was a big thing for me because I've, that's my biggest thing.
28:21
The first time I watched The Howling and Rob Bateen's transformation scene came on with Eddie Quist.
28:27
I, I lost it. I thought this is the most amazing thing.
28:30
Then American Werewolf came out, Rick Baker, David Naughton turning into the
28:34
werewolf right there in bright lit apartment. it.
28:38
And ever since, you know, I loved one of my favorite movies and I've recently
28:42
got to be friends with Paul Clemens and I love Paul Clemens because he did The
28:45
Beast Within. He was the main character.
28:47
And even The Beast Within, when it goes crazy and the dude's head's like the
28:50
size of a balloon, I still enjoy it because it was pushing boundaries.
28:54
And of course, The Thing, Rob Bateen, you know, came back and did The Thing.
28:58
And of course, Stan Winston did some too. And that movie is just the ultimate
29:04
transformation movie of any kind.
29:06
But when it comes to our transformation, you know, we, we had four different
29:11
stages of makeup for, for the female version and the male version,
29:15
we had three different stages of makeup and then the final.
29:18
And what I wanted to do and make sure it worked was I combined all these as
29:22
seamlessly as possible.
29:23
And then I, like for the woman, the girl's, you know, transformation,
29:27
I basically first wave of makeup,
29:30
I followed the movement of her the second wave of makeup I followed
29:33
the same movement of her and this was all by hand because
29:36
I couldn't afford a motion tracking camera and then
29:39
each one I did you know I had her move the
29:42
same and I tried to follow exactly the same and then I was able to go in and
29:46
turn that into a film strip take that into photoshop and actually use the airbrush
29:51
tools and things and blur and not really blur because it didn't get blurry but
29:56
like I said what I mean by blur is blur the lines between each shot.
30:01
So it was one smooth transition from beginning to end.
30:05
So I kind of used modern technology with even Jack Pierce days,
30:11
you know, when he did the Wolfman, how they would sit him in a chair,
30:13
but he couldn't move. That's basically what we did here.
30:16
One effect, you know, we, we had to make up a certain way that face was bubbling
30:20
and things and it would move right into the next effect, which had more hair
30:24
and more bubbling and the teeth were getting longer right into the next.
30:28
So I was able to blend each type of makeup we did and make that a seamless shot
30:33
where it starts with her screaming and ends with her as a werewolf all moving,
30:38
all the camera was moving through the whole thing and i think it really kind
30:41
of turned out okay i think it was look it's fantastic and the fact like you
30:45
said you because it looks like it's it's even though it's intercutting different
30:49
shots and as you say different makeups and different effects.
30:53
Because it's all in motion it all seems fluid
30:56
even though it is a montage of of images
31:00
in effect right because we just kept because we
31:03
shot everything almost the same so even if there was a slight change i
31:07
was able to fix that by by going
31:09
in and if the black if the background was a little off because it's
31:12
all by hand i was able to go in and fix that so
31:15
i was like so it looks like it's all the same shot which is
31:18
something that you know i'm thankful for of course it took
31:21
like two weeks just to do because it's
31:24
like every day working on that to make it right but you know
31:28
at the end of the day you you look back at it you're like
31:30
oh my god all that work it's like a you know
31:33
what 20 second shot 25 seconds but wow
31:37
what a great shot you know mate it's well worth it one of my favorite quotes
31:42
from robert rodriguez's book from back in the day rebel without a crew is that
31:48
if you love what you do you can succeed because the work will speak for itself
31:53
and the work speaks for itself here.
31:57
Wolf Moon Rising, Todd Sheets. Mate, where, when and how can the audience check out Wolf Moon Rising?
32:08
Well, the good news is if they're in any of the cities or any of the places
32:12
around the world that we're going to be screening this, I'm even working on
32:16
trying to get some stuff done in your neck of the woods there.
32:20
I'm looking at international cinemas and talking to them and trying to get it
32:23
shown in Japan and different places.
32:25
But we're doing a theatrical tour for a while. And then after the fall,
32:29
then we're going to be gearing up to release it on home video.
32:32
And it'll be on Blu-ray, DVD, VHS even.
32:36
And then it's going to go to streaming eventually.
32:40
But I'm hoping that people will grab the physical media if they still have the
32:45
players because it looks a lot better.
32:47
And they don't have all the compression and everything. So it'll look beautiful for them.
32:51
So that's all going to happen after the fall. And I want to thank you personally,
32:55
because, you know, a lot of people will watch us and never catch the little
32:59
in-jokes and the little nods that we did. And we did a lot of them and you caught
33:03
those. And I just really appreciate that.
33:07
Well, like you, I watch too many movies. Yeah.
33:13
I've seen, I've sadly seen more movies than some people have had hot dinners,
33:18
but yeah, it's my curse, but I love it.
33:22
As, as the great George C. Scott once said in Patton, God helped me. I do love it.
33:27
So I love it more than my life. I love the movies and I loved Wolf Moon Rising, Todd Sheets.
33:33
Thank you, mate. Thank you.
33:36
Thank you for all you do for guys like me, man. It means the world to me in my heart.
33:40
Thank you so much. yes wolf moon rising ladies
33:44
and gentlemen werewolves in space it's all part of
33:47
your complete breakfast why would you not want that
33:50
i wanted it i got it you can get it too check the
33:54
links in the description for all of the touch
33:56
sheets wonderment and awesomeness
34:00
you can get it all check the links in the description and wolf
34:03
moon rising check it out it's doing a theatrical
34:06
tour right now and in the fall there
34:09
in the states making its move to physical media latest
34:12
streaming but get it where and when
34:15
you can if you like werewolves in space like
34:18
me the size of wolf moon rising met
34:21
is not it's wall-to-wall action with classy special effects and taking particular
34:27
care in the wolf department tot sheets knows from his years of underground artistry
34:33
how to pull it off smorgasbord blood-soaked howling and horrifying creatures and joe dante's in it.
34:42
Wolf moon rising it's awesome check the
34:45
links in the description and as always my little yugenites thank you for listening
34:52
to us on spotify or wherever you choose to listen to your favorite podcasts
34:56
i'm ken hill and until next time you've been listening to cinema Oh, Lucas!
35:05
Music.