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When Reservoir Dogs Met Resident Evil — The Story of Red Night at Skye's · Cinema Yūgen

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  G'day. That's right. It's that time again. Time for... CINEMA! YOOGEEEAAAAAAA!
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  Yes, welcome back, Ugin, I'd sit in my Ugin, no film school,
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  no roadmap, just grit, loss and the fire that refused to burn out.
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  From the underground comes Chris Greger, founder of 88mm Films,
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  a filmmaker who turned tragedy into a two-decade legacy of raw,
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  uncompromising storytelling.
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  Now, he's unleashing something vicious, red night at skies,
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  a desperate heist, a pawn shop with secrets and
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  a night that spirals straight into hell what begins as
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  a quick score explodes into a brutal siege bullets
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  tearing through the walls alliances crumbling the
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  survival slipping further out of
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  reach with every passing second but
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  behind those doors something darker is waiting
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  something twisted think reservoir dogs meets resident
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  evil grimy explosive and
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  completely unhinged this isn't just a
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  movie it's a pressure cooker of violence tension and
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  pure adrenaline it keeps hitting harder the longer
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  it goes on chris gregor drops in to talk about the madness mayhem and the creation
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  of the film that doesn't pull a single punch so buckle up because the red knight
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  falls all hell breaks loose ladies and gentlemen please welcome the writer director
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  of Red Night at Skies, the amazing Chris Greger.
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  Chris, welcome to Cinema Yugen, mate. Hey, thanks for having me, Kat.
• 2:33
  Mate, fantastic to have you. Really, really enjoyed Red Night at Skies. What a flick, mate.
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  Like I said, I came into it, and I saw it going one way, and it's partly because
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  I reviewed a film that began similarly. Similarly.
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  I guess it didn't turn out the same. No, not at all. I thought,
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  you know, honestly, when –,
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  This is not, this is not to disparage you anyway, but when it started,
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  when the movie started and it was like, his wife's dying and I'm like,
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  oh no, it's, it's going to be another one of those ones. Right.
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  Um, but as soon as it got into, like I said, the whole reservoir dogs meets
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  resident evil of like, okay, all right now. Okay. That's good.
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  I was, I was happy because the, the, the film that I'd sort of reviewed prior
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  that was going down that the guy has a dying wife and he's got a yeah the less said the better but with,
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  but with your film the more said the
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  better and like i said the longer it keeps going the better
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  it becomes so tell us where did
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  where did where in the
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  ether your cinematic influences how did it all
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  come together and concoct in the blender to make red knight
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  at skies did you dream it did you see it did you how did it come about well
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  it it's kind of a convoluted story like most filmmaking stories are so we were
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  working on this boxing film and we had been working on that,
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  probably since like 2017 right because we yeah it definitely since probably
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  since 2016 so man It's like 10 years ago.
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  Right. We, we shot this investor teaser for it.
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  We spent like 15,000 on that and we were raising money for it.
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  And that was like the next film we were going to make was this boxing film called cruiser.
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  Right. And it was, and it was more like an underground fighting,
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  very bloody, violent, you know, two different timelines, all this crazy stuff going on.
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  And we were raising a pretty big chunk of money.
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  And then guess what happened?
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  COVID. Oh, gee whiz.
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  Didn't that throw a stone in everyone's shoes, didn't it?
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  Yes. Yes. That, that shut everything down. It derailed all of our progress.
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  And, you know, we had to give, you know, a bunch of money back and everything
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  was like just doom and gloom.
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  Like, well, this, this project's dead. Right.
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  So I kind of, I kind of took a month to just kind of wrap my head around,
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  you know, what we were going to do and what we could do, what we even should do.
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  And I thought, okay, the other film, the cruiser film was a,
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  was a really big story and lots of locations and lots of elements and,
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  you know, all this blah, blah, blah.
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  So I thought, all right, if we could drastically reduce the budget and,
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  and essentially set it all in one location, we could tell a very different story.
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  So then I started thinking about what type of story I'd want to tell.
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  And I had probably maybe a year or two before seen this movie called Green Room,
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  which was, I don't know if you're familiar with that.
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  I know of it. I have not seen it yet.
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  I know of it. It's this punk band. They play at this remote.
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  Music venue, this club, which is essentially run by neo-Nazis and they see something
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  they shouldn't see and they get, they get trapped there.
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  So that, that was a really well done version of people are trapped in one location.
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  So I kind of, kind of took a little, little page from that.
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  And, and that's when I started working out the concept of, of Red Knight.
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  And I wanted to do something where a small group of people are,
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  are stuck in this situation, but it's a situation of their own making essentially,
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  you know, because no one's really innocent in the movie.
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  I mean, Cole has, you know, a pretty good reason for doing what he's doing,
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  but they're still, they're still robbing people. Yeah. Yeah.
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  It is heist. Yeah. Yeah. This is a sticker people. Yeah.
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  So I, I, I wanted to do something where we had, you know, meth and cannibals
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  and, and weird experiments.
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  And, you know, I think by and large, it, it, it turned out how I wanted it to.
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  That's, that's good. One, one always hopes for, for such things,
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  but, uh, no, look, man, it turned out, it turned out very well.
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  Like I said in my review. So when the, when the turn happens and it,
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  and it doesn't take long to happen, it, it just goes up.
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  Like, I feel like it's, it's, it's a, you know, a sports car that,
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  you know, you're driving along on the side and then all of a sudden he's got
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  like two more gears than you do.
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  And the next minute away it goes and when the uh when the nazis and uh zombies and experiments and,
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  you know essentially the resident evil portion of
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  the basement you know i thought wow this is like you know this is like a deeper
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  darker version of the the porn shop that frederick forest had in like falling
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  down you know when when michael dougley takes michael douglas back to show him
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  his like secret stash in the back. Yeah. This was used.
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  This was actually used, but yeah, but no great stuff.
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  And like I said, your script is brilliant genius.
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  I love that. I wrote it. I loved it so much. I wrote it in a review where he
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  says, we can't just butch and Sunday and say, we're out of here. Yeah.
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  That's brilliant because you know exactly what that means. Yes.
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  At least people who love movies knows exactly what it means,
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  but it's a good line either way, but lyrical.
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  But when you, when you, you know, we're not just going to butch and sundown,
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  so we're out of here, but no, great, incredible stuff.
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  So, I mean, was, okay. So the, the big derailment, slowly rebuilding.
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  So did any people from the production that get derailed, did they all come aboard this?
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  Did you did you manage to just to bring people
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  over from that to work on this or was it
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  a completely new structured production uh it
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  was a lot a lot of the same that
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  the production company people and then there there were a handful
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  of new people we brought in and there
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  were some people from out of state crew that we brought in so i ultimately i
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  think covid worked in our favor in order for this film to happen right right
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  so you know in the in the sense that he gave you more time to.
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  Reconstitute and better plan of attack
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  or yeah and it was or it was
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  an all-around better idea than the the other one oh i
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  don't know if that's the case i mean i i still like the other
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  script quite a bit it just
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  that would have been so much more difficult to pull off because we needed so
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  much more money and it was it was just a harder screenplay to turn into a film
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  yes and and And even with changing things up,
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  we still had to push this film. We had to push Red Knight back a year, too.
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  Right, right. Because we were going to start in 2020, and then with all the
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  COVID restrictions still going on and just the added cost of all that,
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  it's like we're adding all this cost, but we're gaining no production value for it.
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  We're just, cause we had to pay all the COVID stuff and like,
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  you know, why are we spending an extra 10, $20,000, which gives us nothing.
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  It gives the film absolutely nothing other than, Hey, we can shoot it now.
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  So we push it off for another year until that kind of relaxed. Right. Yeah.
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  And, and was your shoot relatively contained? Like a lot of indie shoots,
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  like within a couple of weeks or a week or 10 or all that sort of thing.
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  Yeah. It was a, it was a 16 day shoot and, and we did it like in.
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  In three separate blocks. Right.
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  It's like everything that was outside of the pawn shop was one block.
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  Right. And then upstairs was the second block. And then downstairs was a third block.
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  Right. Although we, we, we shot the upstairs last. Ah, okay.
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  No no i just i just i just wondered i figured because
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  i mean it makes sense to like film all the stuff you
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  know you've got one you like you said a block of stuff get all
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  that done that done all your coverage for the different areas so i mean what
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  was what was probably the the what was the the most intense part of the production
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  was it the downstairs stuff or
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  was the the the highest stuff in the in the the top of the store or was it,
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  I would say the upstairs stuff because, so there are two locations,
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  obviously, you know, we didn't, we didn't actually have this massive lab underneath
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  the pawn shop. Right. Yeah. Yeah.
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  No, I figured you wouldn't have found an actual pawn shop with a,
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  with an experimental laboratory underneath it. Yeah.
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  I mean, I'm sure they exist somewhere, but you know, no one was going to let
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  us shoot there. That's true. Getting a permit could have been difficult.
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  Yeah. So the, the, the basement of the pawn shop was a, it was,
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  it was the basement of a defunct event space. Oh, okay.
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  Like a wedding venue place. Right. And, and I had shot a friend's wedding there,
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  like, man, like 15 years or so before.
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  Awesome. And I, I saw the building was for sale. So I went and talked to the
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  realtor like, Hey, can we, you know, shoot here for a few days?
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  And what's it, what's it going to cost? And they're like, yeah,
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  whatever, just here's the keys. And I was like, awesome.
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  Don't burn the place down. Okay. Yeah, basically.
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  So they just left us alone, but it was a, it was a huge place.
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  Like the basement was very big and the upstairs is very big.
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  So there's room to spread out and room to do all the stuff you got to do.
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  Yeah. The, uh, the upstairs of the pawn shop was actually a, a body shop.
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  It's Washington Dent, Dent Company where they, you know. Right.
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  Repair cars so so we have some scratches yes and and dents and everything else yeah,
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  Luckily, they, they happen to have in their back room, a trap door to their basement. Sweet ass.
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  Oh, why didn't we? Exactly.
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  Because we, and we just happened to be talking to the owner who was a producer
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  on the film that, yeah, we need a, we need a trap door and a floor of a place,
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  but you know, where are we going to find that at?
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  We're probably gonna have to build a set for that. And that's going to be a pain in the ass.
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  Right. And he goes, he says, oh, there's a trap door in the back here. Like, oh, no shit.
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  And like you open the trap door and through the magic of cinema next minute,
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  they're down into the, the basement, which is, which is great because the bigger
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  the basement, I thought, man, the shop's like the TARDIS, you know,
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  the TARDIS is just thing and you go inside and it's fucking huge.
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  Um, and I was just like, great. The shop's like the TARDIS.
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  It's got this massive underground, you know, kind of like the cabin in the woods kind of deal.
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  But, but I would say in answer to your earlier question, it was harder shooting
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  at the upstairs of the pawn shop because it was so constricted.
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  Right. Yeah. Yeah.
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  I mean, I think people often assume when they see,
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  you know, action sequences and stuff in films.
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  That must've been the most difficult part, but sometimes it's the more confined
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  elements, like where you have, as you say, a set space.
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  Cause unlike bigger movies, you don't have flyaway walls or flyaway props that
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  you can just push out the road so the camera can go work and do whatever.
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  You have to use what's there or bring your own dressing as you probably had to in some moments.
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  Yeah, the production. Production designer, he did a, did a great job.
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  Yeah. I mean, I, yeah, I wouldn't have, I wouldn't have questioned either the
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  pawn shop or the, the Nazi laboratory below.
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  Yeah. No, completely authentic. I've been in many.
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  And yeah, from the swash stickers to the, uh, the chemicals,
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  uh, you know, I, I can't fault your authenticity.
• 15:29
  Um, thank you. but uh no look i mean it's just the there's such a great wave at the moment of of of,
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  i hate to use the term funny scary because it's that's that's kind of surface
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  but horror movies always have this great.
• 15:51
  You seem to be able to mix genres easier in a horror film framework than some other genre, you know?
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  It's not easy to pull off a comedy Western as opposed to a comedy horror. You know what I mean?
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  And striking the blend between funny, scary, gory, and actually adding some
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  element of dread in there too is a really difficult balance, wouldn't you say?
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  Oh yeah to juggle anyway in
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  hope that you hit those notes yeah and and
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  i don't think so the original cut
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  had some more elements
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  with the the tom character the
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  the best friend like at his job where he's
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  going through all this bullshit and they were just little short vignettes
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  but they were very very funny yes but
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  but they also slowed the pace down so we we
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  cut those there was a lot of little things like that that we
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  we ended up cutting out which i personally really
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  like but it's like ah it's kind of slowing the
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  pace down and maybe the tone is veering a little bit
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  too much into absurd but i
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  i do think the best horror has a
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  humorous element to it yes you know
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  because i mean you look at some of the classics like american
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  werewolf in london is one of the best examples and and
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  even the thing yeah evil dead and evil there too yeah more so and evil army
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  dark yeah yeah but it's uh it's it's such a great.
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  Just a joyous mix. And this is like the second really good indie horror film this year.
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  I just watched, have you seen Mr. Boyd's film?
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  Scared to death. Have you seen Scared to death? No. Yeah. I think it's just open.
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  If you, if you, I think you two guys should, should bump heads.
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  You got a similar, you got us and, and your films both have Bill Moseley.
• 18:01
  Hey. Yeah, there you go. So you got the Bill Moseley connection already.
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  Cause he's, he's a great stalwart.
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  What was it like to hang with, with Bill, the, the horror on Bill Moseley?
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  Just, just the nicest guy you'd ever want to meet. Yeah.
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  You know, not, not pretentious at all and easy to work with.
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  You know, he, he wasn't like, I've done this. I've done that.
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  He's like, yeah, what do you want boss?
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  You know? Yeah. Show me where to stand.
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  Yeah. Tell me where you want me.
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  Just, just a great dude. Really better side.
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  And, and that's, that's what I had hoped. Like, you know, he seems like a cool
• 18:42
  guy. I hope he really is. And he really was. And that was, that was a great experience.
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  No, he's, he's, he's good. Very solid. He's, he plays a, an above average medium. Yeah.
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  A spirit, a spirit guide in this scared to death.
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  And I just launched really good stuff, but he's got like an agenda.
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  I'll say that I won't give the, I won't give the game away for you.
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  Cause I want you to see it, but, but yeah, he's got a, he's a dude with a secret,
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  but it's good. It's funny. I, like I tell you, you and Mr.
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  Boyd need to like have a beer or something because you two guys have got like,
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  uh, similar sensibilities that to guarantee you watched his movie, you'll see, uh.
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  You'll see similarities with Red Knight at Skies because he's got that exactly
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  like Red Knight at Skies, that great blend between it's, it's,
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  it's funny, it's scary, it's crazy.
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  And I love the, I love the fact that there's a bit of a question mark there at the end.
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  Yeah. I'm not going to spoil it for anyone, but there's a question mark at the end.
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  I'm not going to say what the question mark is, but, uh, I love that question
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  mark at the end and how sort of Bill Moseley, the dad sort of comes back,
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  his character comes back around and bookends the movie that way.
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  So, so, I mean, does that mean that there's, there's, there's,
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  there's, there's bigger things are fought, Chris, with the.
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  With what was going on underneath sky's porn
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  shop but you mean as far as deeper story
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  or yeah where the story could go just oh
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  i'm yeah there's a whole there's a whole other concept that i would love to
• 20:24
  love to do but right you know unfortunately that is that is directly tied or
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  partially directly directly tied to it okay like uh absolutely directly tied
• 20:35
  to it okay right And, and that,
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  if I could do that, and again, unfortunately,
• 20:41
  everything with any film involves money.
• 20:45
  Right. Yeah, sure. Sure. Like everything else in life. But if I could do that,
• 20:49
  it would be more like army of darkness.
• 20:52
  Right. Okay. You know, that, that, that is the vibe. It would just go up a level.
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  The sanity, the insanity would just, you know. Yes.
• 21:01
  Yeah. Let's just dial it up to 11. Yes. This one goes up to 11.
• 21:05
  Yeah. 12 even 12 13
• 21:09
  shit yeah it's friday the 13th there isn't it yeah yeah
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  all the way up why not i mean no
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  i just figured because you put that in there the question mark at
• 21:19
  the end i figured well he's got he's obviously got plans you know or ideas you
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  know yeah whether or not they could be executed well that's true but it was
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  but like look i don't i don't think like people people say whenever you end a film that way.
• 21:37
  That, oh, there must be a sequel. But look, how many really good films,
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  and I'm sure you can remember plenty, that were standalone films that did have
• 21:48
  a question mark kind of ending.
• 21:50
  More particular, sort of around the end of the 90s, there was a bit of a trend
• 21:53
  of it. Do you remember that movie, The Cave?
• 21:56
  There was this movie called The Cave, and Wings Houser's son is in it. Cole Houser is in it.
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  And it's about a bunch of these people. they're they're
• 22:05
  like those cave divers they go
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  into like deep caves and and they go into
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  this cave system and in the cave are these these people who
• 22:14
  got trapped in there and they mutated and the bad people
• 22:17
  creatures yeah yeah and anyway that movie ended with with a like a question
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  mark where the the chick that gets out because you think that because cole house's
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  character is mutating as the end of the film happens and he saves his brother
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  and the chick and they get out And you think that he was the only one infected with the,
• 22:35
  the creature virus that made him change into the creatures that lived in the cave.
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  But at the end she winks and you see that her eyes change and it leaves it in with a question.
• 22:44
  Now, of course, there's never going to be a sequel to the cave unless Cole Hauser really wants to do it.
• 22:50
  But there was a trend of that. And, but, but I mean, just because,
• 22:54
  okay, the story is obviously going to keep going somehow, but it was satisfying enough.
• 22:58
  An ending like an open ending doesn't have
• 23:01
  to mean there's going to be more i mean
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  obviously they would want to be more because you said yeah i would
• 23:07
  like there to be more if there was the potential to
• 23:09
  make more but it's a satisfying enough film stand alone yeah i think so and
• 23:16
  and i don't think everything needs a sequel like the goonies does not need a
• 23:21
  sequel right i i don't need to see the adult Goonies and their kids.
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  Like, I don't want to see that.
• 23:27
  Yeah. You know, cause that's the way that they would have to go.
• 23:31
  I mean, cause it can't be the old dudes go on the same.
• 23:35
  Adventure together no i mean big
• 23:38
  trouble a little china does not need a sequel oh yes
• 23:41
  please never do or a
• 23:44
  remake for that fact remember the rock remember the rock was circling that talking
• 23:50
  about trying to the rock was going to remake it and the rock was going to be
• 23:53
  jack burton and i mean got jackie chan to be sidekick or whatever and yeah it's
• 23:59
  like man just just leave it well enough alone. Yeah. Yeah.
• 24:04
  It's like disturbing people's graves. I think, you know, like it was,
• 24:09
  it, it's, it's, it lives well and has lived well on its own.
• 24:12
  It doesn't really need the reanimator treatment. I mean, as much as they want
• 24:17
  to cash in on some of this stuff, which is the trend of course. Yeah. Yeah.
• 24:23
  But it's great to see creators and filmmakers like yourself completely dodging
• 24:30
  all the algorithms and making films that try to fit into what's the flavor of
• 24:35
  the month category and making original stuff.
• 24:39
  And I mean, it's, it's so it's, it, that's why I like to hang out in indie cinema
• 24:46
  because it's so refreshing because it's not based on anything.
• 24:50
  No. It's something that, that.
• 24:53
  You know, a current, like you said, the kernels of the idea came from different places.
• 24:57
  And then all of a sudden you put it together and the elements of course of indie
• 25:01
  cinema collide and the movie got smiled down and bingo.
• 25:04
  We're talking about the movie here and now because it's, it's,
• 25:07
  would you agree? It's of course very easy for it to go the opposite way too.
• 25:11
  I mean, regardless of world pandemics and stuff getting in the way.
• 25:14
  In opposite way, in what sense?
• 25:17
  Well, in terms of the film not getting made as opposed to
• 25:19
  all the elements going the opposite way you know like getting uh lost
• 25:22
  in the marcher you know like terry gilliam oh yeah
• 25:26
  it's it it's very difficult to finish in an independent film under any circumstances
• 25:36
  you know pandemic or not but as as i like to say as hard as that is and it's
• 25:43
  hard it's hard making movies it's hard raising
• 25:45
  money it's hard making movies that is
• 25:48
  all easy compared to the back end right
• 25:52
  the back end when you're trying to recoup what
• 25:55
  you spent that is man i
• 25:58
  wish i had an answer for that right right because that that is the real struggle
• 26:03
  yeah it's like yeah it's it's very hard making the thing but it's that's pretty
• 26:10
  fun you know there's there's lots of good moments in that yes but But the back end stuff is,
• 26:17
  by and large, miserable.
• 26:20
  It really is. It's, it's, it's what people, it's what filmmakers never get interviewed about.
• 26:25
  Like, so what was it like selling that? Like all the stories come from the set
• 26:28
  and you had such a great time and stuff.
• 26:31
  What was it like taking it out and trying to make money?
• 26:34
  Well, you know, we took it around here and no one wanted it.
• 26:38
  And yeah, it's a, it's, it's a never ending story of trying to find a distributor or distribution.
• 26:44
  That's not going to, you know, throw all the baby out with the bathwater, you know?
• 26:49
  And, and, and even if you do, because I think, because we were not going to
• 26:54
  go with the traditional distributor for red night because we've had like every
• 26:58
  filmmaker horror stories in the past where, you know,
• 27:02
  the movie made a bunch of money. We didn't make hardly anything.
• 27:06
  That's, that's very, very typical.
• 27:08
  The distributors drive in Ferrari and I've still got a Volkswagen.
• 27:12
  Volkswagen, man. I got a skateboard.
• 27:16
  That's where that's at. Yeah, he shot past in an Audi and I've got my little e-scooter.
• 27:22
  Yeah. So we, we were not going to go with the traditional distributor,
• 27:27
  but we ran into this guy at a couple of festivals and everything he was saying made pretty good sense.
• 27:35
  So we ended up signing with him, Jerome Kershaw of Lionheart,
• 27:39
  Lionheart Entertainment, Lionheart Films out of LA.
• 27:44
  And, you know, I, I think he's a, out of every distributor I've worked with,
• 27:49
  and this would be probably the, the fourth that I've, I've dealt with,
• 27:54
  he's a, he's, he's a good dude. And I think he's doing a good job.
• 27:59
  And I think he's honest. That being said, it's still incredibly difficult to
• 28:04
  make any damn money with, with, with the film in today's market.
• 28:11
  It's insanely difficult because, you know, there's, there's so much competition
• 28:17
  out there, you know, good, bad, better, worse.
• 28:21
  Right. It's just, it's just a lot of films fighting for eyeballs. Yeah.
• 28:27
  Yeah. Or attention. attention yes from everybody from and and,
• 28:32
  And, and that's, that's the real trick is how do you get people to pay attention
• 28:36
  to your stuff? Yeah. Yeah.
• 28:38
  I mean, and you think it would be easier today since we're all connected constantly
• 28:43
  to the internet, but do you think that still word of mouth is,
• 28:48
  is like the best advertising for a film?
• 28:51
  Like enough people see it and have a good experience. They tell friends and
• 28:54
  they tell their friends and, and because of social media, that conversation spreads a lot quicker.
• 29:00
  And you, you hear about films because of how people are reacting to them as
• 29:04
  opposed to the marketing, you know, hitting all the right notes.
• 29:09
  Man, I, I mean, maybe I like to think so, but, and I've been doing this for
• 29:15
  a long time. You know, this is, this red night was my seventh feature. Yes.
• 29:21
  And I started in 99.
• 29:24
  So I've been at it for a minute. And the one thing that I have absolute certainty
• 29:31
  of is there is no such thing as certainty.
• 29:36
  I love that. That should be a t-shirt. It should be. There's no such certainty.
• 29:43
  Yeah. Yeah. Because. There's no such thing as a sure thing. No, no.
• 29:49
  What works for one film is probably not going to work for another film.
• 29:54
  And what worked last time might not work next time.
• 29:58
  Yeah. I mean, it seems like the best thing to do, well, it's like that Markiplier
• 30:06
  dude, the guy who made Iron Long. Yes. Was that, yeah.
• 30:10
  Yeah, Iron Long, yeah. Yeah, he started as an influencer and he built up a huge
• 30:16
  audience of like 38 million subscribers. It's like, that's the move.
• 30:22
  It's like, don't start making movies. Start making, make an audience and then
• 30:26
  your audience pays for the film and then they show up and make it. Yes. Yes. That, that,
• 30:33
  But, you know, who's got time to do that? Exactly. It's like,
• 30:35
  why didn't we all wake up and say, oh, all I need is 30 million subscribers and I can make anything.
• 30:41
  I mean, yeah. Put it this way. If they all donate a dollar, you've got a $30 million budget. Yes.
• 30:47
  I mean, we also have our, our, our podcast, the Indie Film Sucks podcast,
• 30:51
  where we talk about the highs, lows, and in-betweens of true independent filmmaking. Yes.
• 30:57
  And, you know, I think we have, I don't know, under 200 subscribers.
• 31:03
  So, you know, it's, it's, uh, it's tough, man. It's hard because you have to be constantly at it.
• 31:11
  Yes. You know, that's, I think that's what, I think like people talk about the,
• 31:15
  the, I mean, we famous, we famously in Australia now have banned social media for children under 16.
• 31:24
  Because I think, I don't think it's the actual media that is damaging.
• 31:29
  I think it's the constant need to fulfill the media, you know,
• 31:35
  because once you, once you open a platform,
• 31:38
  whether it be a podcast like this, a YouTube channel,
• 31:42
  a blog, a blog, you know, whatever you, however
• 31:45
  you want to project your ideas thoughts you know
• 31:48
  people just put their short films on youtube you have
• 31:53
  to stick at it because if you're going to gather those 30 million
• 31:56
  subscribers or that audience if you
• 31:59
  start well and you're putting out a clip or
• 32:02
  an episode a week or however long you have to stick with
• 32:05
  that because if you go away for a month they're going to think you're dead
• 32:08
  or retired or yeah yeah or something i mean that's the that's the problem is
• 32:12
  is this added consistency to the to all of the other things that we have to
• 32:19
  do to get the alchemy to work is now also try and sell it constantly on every platform possible.
• 32:27
  I mean, you turn on your phone, you see nothing but people and they're selling
• 32:30
  themselves or their vodka or look at my clothes or like, share,
• 32:37
  subscribe for notifications. Hit that bell and merch.
• 32:42
  Yeah, it's...
• 32:44
  Yeah. You just got to push, push, push. We all need to, we all need that to
• 32:50
  read the, what's his name?
• 32:52
  The Wolf of Wallstraight's book have had a sell better and, uh.
• 32:57
  You know? Yeah. I mean, I, I personally believe if I would have made Red Knight
• 33:04
  the exact same film as my first film.
• 33:08
  Yes. Which would have been 2001.
• 33:11
  Wow. I, I, I think it would have been a career launching film.
• 33:14
  I think it was good enough to do that yeah my first my first film was a career sinking film so,
• 33:21
  well actually you're in it's still in
• 33:24
  the fight mate you can't i mean as much as
• 33:27
  you as much as you may be dismayed you're the
• 33:30
  the people that succeed are the people that that stick with
• 33:34
  it and it's uh it's very difficult to
• 33:36
  stick with yeah because you
• 33:39
  know there's there's the valleys are deep and
• 33:42
  the peaks are high and yeah it's a
• 33:45
  sisyphean task to keep pushing that rock up
• 33:48
  yes i need to keep slipping down and having
• 33:51
  to push over ground that you've already come
• 33:54
  yes i applaud you sir it's a
• 33:57
  wonderful was was such a great movie i really enjoyed it and thank you i really
• 34:02
  hope that you continue as you have with your excellence and perseverance and
• 34:08
  i can't wait to see what you do next and even though even though there's a question
• 34:12
  mark at the end if you if you do eventually realize,
• 34:16
  that story that continues the story, then I'll be very, very keen to see that
• 34:21
  too. Well, that makes two of us.
• 34:24
  Well, there's an audience of two. Two subscribers. We only need 28 million more.
• 34:31
  So get to the phones, ladies and gentlemen.
• 34:35
  Like, subscribe, you know, all that sort of stuff. And help my good buddy here,
• 34:41
  Chris Greger, keep making magic. Chris, where can our audience see Red Night at Skies at the moment?
• 34:48
  It is on Amazon Prime. It is on Tubi. It is on Fossum.
• 34:55
  It is on a bunch of other platforms I can't even remember. You can buy the physical media. It's out there.
• 35:02
  Physical media, Fossum. Physical media is available on our website,
• 35:08
  which is 88millimeterfilms.com.
• 35:11
  You can buy the Blu-ray. Awesome.
• 35:14
  Yeah, probably, like I said, a couple other places I can't even think of.
• 35:18
  That's okay. All the links will be in the description. Ladies and gentlemen,
• 35:22
  my guest, Chris Greger, the film, Red Night at Skies.
• 35:26
  Check out my review, filmthreat.com. It was a fantastic ride.
• 35:30
  Reservoir Dogs meets Resident Evil.
• 35:33
  And the movie only gets better the longer it keeps going. Chris Greger,
• 35:37
  thank you for being my guest on Cinema Yugen.
• 35:39
  Wow. Kent, thanks for having me. Yes, Red Night at Skies. Now,
• 35:43
  excuse, get down to the links in the description and find out all of the goodness.
• 35:49
  My review at filmthreat.com.
• 35:53
  Red Knight at Skies.
• 35:55
  Fantastic movie. Contained excellence. Chris Greger. Get down to the links in the description now.
• 36:01
  And as always, my little Eugenites, thank you for listening to us on Spotify,
• 36:05
  iHeartRadio, or wherever you choose to listen to your favorite podcasts.
• 36:09
  I'm Kent Hill, and until next time, you've been listening to us on Cinema, Yuge!