Latest / Cinema Yūgen / Richard Stanley: Reclaiming the Macabre — From Dust Devil to the Hundred Acre Wood

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Richard Stanley: Reclaiming the Macabre — From Dust Devil to the Hundred Acre Wood · 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, a returning guest.
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The masterclass always, the maestro of Monsegur is back. His name,
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Richard Stanley, was actually, it was 10 years ago when I first started corresponding
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and chatting with Richard.
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He took part in a book that I was editing, Conquest of the Planet of the Tapes.
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Since then, we've talked on several occasions.
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Now he's back. We're catching up again. He's been kicking nothing but goals
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as far as the absolutely stellar re-releases of his films by Umbrella Entertainment.
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Here down under his book otto ren
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grail hunter also out there he's
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working on another film if you haven't seen
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hardware dust devil color out of space his
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documentaries like the other world you're missing out you need to tap in some
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richard stanley and now is the time to do it it's everywhere the re-releases
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of his films books coming out he's working on another film and also So he's
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about to head off into the 100 Acre Woods.
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So if you haven't heard of Richard Stanley, you need to check the links in the
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description, but better still.
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Please welcome him back to Cinema Yugen.
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We're excited to hear about everything old that's new again and also what he's
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going to do with that little tubby, little cubby who likes to play with blood and honey.
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Say hello again to my friend, Richard Stanley. G'day, Richard.
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Well, great pleasure being with you tonight, sir. It's awesome to have you.
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Coming at you live from a French Pyrenees.
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A French Pyrenees, where all the action's happening.
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You've been kicking a lot of goals, mate, since we last spoke, Richard. A lot of goals.
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Yes, it's been a busy, crazy year with the events coming so thick and fast that
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at this stage I have really no choice other than to accept that we're either
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living inside a dream or a simulation.
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Because it's so much of it's just, yeah, just so far-fetched that I'm just going with the flow.
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It's the best way to be, I think, Richard. I think the way the river flows at
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the moment, it's difficult to fight.
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So like you say, it could all be like vanilla sky too.
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We could all wake up at some point
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and realize that this has been a waking dream or something like that.
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I think there's a strong possibility. The matrix of coincidence and synchronicity
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is so strong at times, and the ridiculous flow of events is so ceaselessly surreal
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that it gives me hope in some way.
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I think if it's a game, it really likes it when you engage with the process,
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when you're an active player, and I think it also really likes it if you remain
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stylish and try and look your best in the face of whatever the hell is coming down,
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because I'm simply amazed at some of the recent tons of events.
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Yeah it's uh it's the stuff of uh in some ways it's the stuff of bad fiction.
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But uh in in a lot of ways too it's like you know sometimes you feel like the rats in the maze and and,
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Not just the feeling that you are crawling through a maze, that the fact that
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maybe someone may be looking down from, you know,
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a plate glass top that you can't see through and is secretly working against
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you as you work your way through that maze, don't you think?
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There is some element of that. It definitely feels game-like.
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I also get frightened sometimes that it's entertainment, that the horror and
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tragedy of our lives is providing some form of entertainment to our Yeah.
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Indescribable off-world deities or whatever the heck is actually running the show.
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But ceaselessly surprising, and I've been having a lot of fun, despite it all.
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I mean, the best thing you can do in times of chaos is make the most of it.
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And this has been an intensely lively August, where we've basically been shooting a movie.
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And not only shooting a movie, but shooting the first film that I've been in
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any kind of control of since I was a student, which has been a nice experience.
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It's been good shooting on something where the IP is my own,
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not owned by any corporate family or streaming service, but basically being
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allowed to follow my instincts.
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Kind of like how you began Dust Devil, hey? Like, you know, those early attempts
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before the attempt where you finally made it, you know, back when you did like
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the 16 millimeter version.
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In theory, but not, thankfully, because the 16mm Dust Devil was a nightmare from hell.
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It was really, really bad. It was almost gone from hell, wasn't it?
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Yeah, many of the things we recreated in the 35mm Dust Devil actually happened
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while we were shooting the 16mm Dust Devil.
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So, yeah, it was certainly an odyssey.
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It's great to see that Umbrella down here is doing such wonderful work re-releasing
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these films in wonderful packages, and you've been actively involved with some
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new commentaries and such.
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How has it been to see those films being rediscovered recently with these re-releases?
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Well, my hat's off to the Umbrella Group for doing such a bang-on job with both
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Hardware and Dust Devil.
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With Hardware, I was particularly excited not only that we got to finally regrade the movie,
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and I got to actually okay the cut, which meant after generations of the thing
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being kind of dull and having lost its vibrancy,
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we were able to restore some of the original psychedelic intensity to the cut
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so that was just a treat but also so good that they managed to.
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Get the rights to reproduce the original Frank Frazetta poster art which always belonged,
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with the movie but for legal purposes it's always been separated from the movie
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so it was super nice seeing those two things finally married together in something
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like the format originally intended,
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and um yeah haven't seen the um the final box kit on dust devil yet but um i
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have high hopes for it yeah i'm very excited i've got one now,
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got mine pre-ordered for sure but uh it always
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struck me as odd when when filmmakers like yourself would
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would get artists like frisetta and struzan and
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i mean in in in the age of photoshop it always you know i mean today it's nothing
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to sling a poster together with a thousand faces on it here's everyone in the
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movie but you know i really miss and i've heard a lot of talk about i miss that
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the poster art used to have more of an artistic quality to it,
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which implied something of the film without giving it all away.
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Like, here's just all the faces of the people in it. You know what I mean?
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Yeah, I mean, there was once a time when films and posters were considered to be art.
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I think that's something that's gotten completely lost in the days of not just
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entertainment but content where we are now.
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Yeah, there's no real sense that these things are.
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Cultural artefacts. But I
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hope that true art and human ingenuity will never perish from this earth.
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And I hope that we will strike a balance with AI and the emerging technology
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and find a way of bending it to our aims.
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Yeah. Well, I mean, the ever-imposing specter of AI, there's a lot of debate around it.
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I mean, I still see it from the point of view is that, again,
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it's another tool and it's only going to be as good or as useful as we make it or we allow it to be.
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Unless, in fact, it does become like Skynet and becomes self-aware and starts
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to create all of its own. What do you think?
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If it starts to get realized and actually make stuff that we don't tell it to, you know?
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Yeah, right now I'm hoping that that will not be the case.
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Right. I mean, I don't know whether we'll even survive AI or not,
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or what will happen next.
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But AI is not what we expect it to be, that's for sure. Certainly it's a useful tool.
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But beyond that, I think the world is starting to discover that AI dreams.
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AI can go mad.
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Yeah, AI hallucinates the whole time. We have no extreme electric sheep, eh?
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Yeah, it isn't the, yeah, the oracle term will always give you the correct answer
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to every question that you ask. Right, yes.
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The magic oracle that we would like it to be.
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It gives back what it thinks is the approximate or the right answer.
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And people use AI nowadays for medical advice, for legal advice, for financial advice.
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It's kind of a go-to for not having to pay lawyers and accountants,
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which I'm all for. But it also has a habit of telling people utter bullshit
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and quoting cases that don't exist.
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It's basically hallucinating, which could lead to major problems.
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Thus far, I don't see that it's been very efficient at writing jokes,
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creating new narratives or characters that I've been able to engage with,
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or actually generating popular new IP.
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So yeah let's see how it plays out but you know it ain't over till it's over,
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it's certainly looking sparky and strange
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at the moment but i'm willing to um have a
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play with this and see what we can do it's it's a wild frontier i mean they
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talk about a lot filmmakers now using it i i know a few filmmakers are using
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it to enhance their visual effects visual effects that they couldn't normally
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afford or have to hire someone to do i mean i think in those aspects,
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independent filmmakers you know should jump on
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it in a lot of ways because i think hollywood is certainly going to think
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i mean they're going to profit on it they can do it for
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free they're going to right well i think that right now independent filmmakers
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really have to fight for their existence to to basically remain independent
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and to yeah exist in the the a rather totalitarian ecology that we're moving into.
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It's fiercely hard out there, which is all the more reason why I'm very impressed
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with people like Scott and Reese with Winnie the Pooh, Blood and Honey.
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Yes, I was about to get to that.
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In looking at a lot of film reviews this year, I think I've heard this year
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more than ever the phrase, this is my most anticipated film of the year because
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film reviewers today are like food reviewers,
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you know, those people that review food in the front seat of their cars.
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Well, film reviewers are pretty close behind them because all you need is a
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wall full of DVDs and a microphone.
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But the most anticipated film of the year is certainly the phrase I've heard
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most this year, but my most anticipated film isn't this year, it's coming.
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When I heard that Richard Stanley was writing,
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uh, Winnie the Pooh, uh, Blood and Honey after, after two, the first one was
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interesting. The second one was better.
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The third one I have to say, and I hate to say it because this is a phrase that
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I really can't stand hearing, but it's my most anticipated film when it comes out.
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Tell us how you, I know you probably can't say too much, but how did you get
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involved with the Winnie the Pooh?
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I guess through some kind of malign fairytale magic, but I've always been a
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fan of, I guess, of public domain material.
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Between H.P. Lovecraft and H.G. Wells, I've been guilty of trolling that same area myself.
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And I was hugely impressed by what Scott and Rhys managed to do with Blood and
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Honey 1 for a film, which I don't know what the initial budget was,
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something like 30 grand that then grossed 7 million worldwide.
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Yeah, and it's proof also that England's not finished.
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I'm so sick of people saying you can't make movies in England.
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Oh, mate, there's not a chance. there's no money, there's no hope,
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et cetera. Yeah, there's quite a lot of indie filmmakers.
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Yeah, making millions, yeah, and getting the equation right.
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And then seeing the exponential improvement in ambition and also technical quality
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between Blood and Honey 1 and Blood and Honey 2 is also, yeah,
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music to my ears because,
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yeah, it's still very cheap, but at the same time, there's a consistent ambition
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to arm the shots that they're setting up and the kind of material they're trying to shoot.
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And I completely respect the desire to keep upping the ante and not just doing
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the same thing, but taking the opportunity to improve, not so much the formula,
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but to reinvent the formula.
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Have you watched the other one? Have you seen all of it? Oh,
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yeah, absolutely. I count me as a fan.
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I liked Al in the second one I think Al is an interesting character too He seems
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like the mastermind of the pack, don't you reckon?
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Yeah, there's all kinds of things. I don't want to go into detail,
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but apart from going back into a bit of a soft reboot of the Origins,
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I really, really want to do some stuff with Rabbit.
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Yeah, I just have... That's great. Yeah, Eeyore hasn't had anything to do yet
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either, so there's life in there.
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But beyond all that, yeah, it's time to get to grips of the woozles.
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Yes. Got the heffalumps and woozles.
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Yeah, I'm not sure we can stretch to a heffalump on this outing because it's still a small movie.
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So you may have to wait on a full heffalump. I would have loved to have ended
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the movie with a battle between Winnie the Pooh and the heffalump would have been glorious.
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I'm very interested to see that what's prophesied in their poster for the poona
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versus winnie the pooh with his chainsaw riding a a demonic bambi.
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You know against you know leading his his thousand
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acre wood friends against the humans you know some
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sort of benja like titanic battle or something at the end of it it seems like
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a great uh i look i have to say that with with these public domain properties
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i think it's i think it's great how people have sort of taken it up and there's so many different,
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variations that i've seen you know
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like popeye have you seen that popeye the slayer man have
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you seen that one i haven't seen it but i'm aware there's a
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popeye and there's a steamboat willy yeah and
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i'm aware that um thus far um mostly there's been a trend towards um taking
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public domain characters uh and beloved um children's characters and turning
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them into ruthless psychopathic blood-spluttering slashes,
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which I think is the first wave.
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But I'm also hoping that with the third entry, we're going to be able to add a degree of.
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Resonance to that iconography, because I do believe that the iconography remains extremely strong.
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It does say something about the culture, ultimately. I mean,
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Peter Pan has deep, deep roots in the culture.
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And on some level, it's also a matter of resting the IP away from Disney and
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Marvel and reclaiming our culture,
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which I think is super necessary.
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I mean, year by year, that's going to be an issue.
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And I'd like to see the day that someone will take Neverland or Winnie the Pooh
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and do something really, really smart and special with it, as well as just taking the purse.
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I mean, we're going to see some very, very choice characters falling into public
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domain within the next one or two years.
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I mean, here I'm thinking in particular Robert E.
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Howard, whose works will come into public domain in the U.S.
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In about one year's time.
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And which are already in public domain here in Europe.
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Yeah, I don't want to see a joke version of Conan or Solomon Cain or Brian McMoran,
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but I would like to see some people do it properly.
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I wish Richard they'd just adapt the stories instead of trying to come up.
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Exactly, Mark. And the more that these things actually fall into public domain,
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and the more that we can harness new technologies like AI to bring down the
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vast production budgets of trying to stage some of this stuff,
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I think it really does open up huge possibilities.
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I'm all for basically leading a rearguard act of reclaimed fairytale IP against the majors.
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Yeah so it's it's
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it's terrible how really a lot of beloved stuff
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has just essentially become corporate product yeah but yeah it it shouldn't
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have happened but um it's just been the way it is i mean um corporations don't
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know what else to do other than to continue to eat and devour and grow larger,
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and that's just what they do.
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I mean, I think, yeah, Disney had hardware for a bit and Paramount seems to
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own Dusk Devil. I don't know how any of these things happen, though.
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Somehow the mouse will end up owning the work.
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The old animated thing with the fish, and then another bigger fish eats that fish,
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and then a bigger fish eats that fish, and a bigger fish eats that fish,
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and then eventually the biggest fish comes along and eats all of them until
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you've got, you know, a body of water with one giant fish and then there's no variety whatsoever.
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Well, there's the illusion of variety. Yeah, and a lot of IP just ends up stacking
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up in the wrong hands with the wrong gatekeepers, so no one can readily get anywhere near it.
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Which is unfortunate.
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Marvel have done a really good job in DC of exploiting their IP,
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But, yeah, an awful lot of other publishing houses have failed to do so in terms of, like,
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here I'm thinking Fleetway Comics, Judge Dredd and Road Trooper and all that
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stuff, but also with the Warren titles, Vampirella, Creepy, Eerie,
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and to some extent the Humanoids titles and the Heavy Metal titles.
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There's a lot of stuff where there's tremendous IP, but because of the legal
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complexities and the corporate nature of the beast, no one can touch it.
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It's just locked away.
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It's like I was watching Dust Devil again last night and I was thinking about,
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you know, there's an awful lot of Stephen King adaptations as there usually are.
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I remember when I first watched Dust Devil the first time, I really thought
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that it would have been great if they had attacked you to do,
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because I know the character in Dust Evil,
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the lone wanderer, as you say in the commentary, he's the rider on the storm,
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he's the man with the red right hand.
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I always secretly in my heart of hearts hoped that they'd give you a shot at
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Stephen King's first book of the Dark Tower, the gunslinger,
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because he was very much like the man in black.
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In that story. And I thought, you know, because you kind of had the feel of
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that first book with the arid landscapes and this figure just sort of walking
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out of the nothing, bringing doom with him.
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Do you like those? It's a funny old thing.
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Yeah, I never read the Dark Tower books, which is an odd thing.
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I wandered away before then.
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And maybe that was also partly because the figure was so familiar to me.
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And there were so many of them, I felt a disinclination and didn't get started.
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And it does seem to me that everyone was having the same dreams,
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that some of those images were really floating around back then,
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like the walking guy somewhere between towns with the storm following not far back,
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the Durango boots.
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But there's some weird similarities.
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And admittedly, there was a conscious effort to try to make this character resemble
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the figure in different songs.
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And if we'd had the money to license tracks, I'd love to have had just a few
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bars of Riders on the Storm somewhere on the goddamn soundtrack just to signal that.
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Yeah, the Nick Cave song, Red Right Hand, didn't exist yet. That came a couple
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of years after the story. Right, right, yes.
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But, yeah, I'm sure I'd love to tip my hat to the folk who came before.
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But beyond that, I've also noticed, particularly while I'm doing the cleanup for Umbrella recently,
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there's some pretty weird similarities between Dust Devil and David Lynch's Twin Peaks cosmos.
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Because looking at the timing of it, what was happening while we were shooting
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Dust Devil in Namibia was Twin Peaks would have been airing for the first time.
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I seem to recall that season two would have been airing the same year that we
23:33
were shooting Dust Devil.
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Looking around the map at that time,
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there's an awful lot of body-jumping serial killers flying around in movies
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back in those days between Jason Goes to Hell and Benzel Washington and Fallen.
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Yes. I really like that movie with that little tune he sings. It's time is on my side.
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And you know who the demon is because they sing that every time they leap from,
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like at one point it leaps into a little girl, you know, is off of the way, leaps into a child.
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Yeah, it's odd. It's for sure. I mean, it gave me a creepy feeling looking at
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some of Dust Devil now, thinking, were we all having the same dreams?
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The stuff with the hitchhiker looking in the bathroom mirror reminds me of some
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of the stuff with Agent Cooper and seeing Bob in the mirror.
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The only line of dialogue I give the guy when he stumbles naked towards the
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truck wreck and comes up to the family.
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He was meant to be naked originally, but we had to put boxer shorts on him because
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of the Miramax and the times we live in.
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But yeah, the only line of dialogue in the script for that moment is not a light,
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which also reflects, I guess, Twin Peaks season three.
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So I was wondering if there weren't a whole bunch of sorcerers from the Black
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Lodge trying to break into our consciousness back in the 1990s or something,
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which just found their way into manifestation. Or like that,
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Like that, the technology that Max von Sydow makes at the end of the Wim Wenders
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film, Until the End of the World, yeah.
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Where people become obsessed looking at other people's dreams or,
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you know, viewing their,
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reviewing or simply living inside their dream, inside the dreams that,
25:35
you know, which was interesting,
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which, you know, it sort of harkens to what exists now with user-generated content,
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Like they, you know, the people are obsessed with themselves so much that they,
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you know, they're, they're the star of their own, you know, own universe.
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And, and yeah, thus they become obsessed with the, the creation and,
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and the, and the, you know, the playback of just simply reliving those,
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you know, reliving those dreams and, and memories.
26:06
Yeah. I think it was Charles Manson who said that the devil's the mirror at
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the end of all of our freeways.
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I like that saying, like God wants us to walk, but the devil sends a limo.
26:23
Well, I think that was the, I think that was one of Joe Esther houses books in Hollywood.
26:27
Yeah. Yeah. God wants you to walk, but the devil sends a limo,
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but yeah. Yeah. And that's usually part of the contract.
26:34
Yeah. I was saying they usually have to pick you up. and give you the most service.
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And then they also usually have to put you back where they found you again at the end.
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But I think you're right in what you said before. I think it's going to fall.
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You know, the independents have a fight on their hands, but I think if independent
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creators stick to their guns and don't,
26:57
sell out too quickly you know there could be hope for for some greater balance
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you know or at least or see at least some semblance of a return to balance you
27:08
know as opposed to you've got mega budget films and you've got tiny films and
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nothing in between whereas,
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you know as you know when you came up there was a mid-ground of of films that
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were made for you know in between in between 20 million and and and 50 million
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dollars which don't exist anymore,
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Yeah, I know that's fully gone at this point in time. Yeah.
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I mean, that could be the ground in which, like, if enough independence with
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enough original IP fought hard and turned some of these new tools,
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you know, to their will, I mean,
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there's a gap in there which they could rise, don't you think?
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Like, I'm not saying they're going to ever have the power to take on the majors
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with all their money, but there could be some semblance of balance in there if, if the mid ground,
28:02
you know, could be employed again, because I think the majors are starting to
28:06
see that they can't continue to make films for hundreds of millions of dollars
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and not make a billion dollar profit, which they're, they're seeing now because,
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they're seeing, they've been so used to every one of these, for instance,
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comic book films making a billion dollars, which they're not doing now.
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They're not cracking yeah no some kind of change is coming and yeah we're living
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in chaotic um yeah neurotic um frightened times so and as usual um no one really
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knows yeah what's coming next.
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And the thing that is cheering me up is
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it's not impossible to shoot i'm really enjoying
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shooting again um if it means having
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to yeah shoot gorilla style um shoot
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cheaply uh then that's okay because um i'm happy with the um the level of the
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material we've been harvesting i've i'm about 10 minutes into um steel donkeys
29:05
now and um the i think the first 10 minutes are as good if not better than anything I've ever done.
29:12
So, yeah, very satisfied with the results in terms of the technology that's
29:17
available to us and the amount of fun that can potentially be had.
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And I think that if that can be extended to Blood and Honey 3,
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I'd like it to be as outrageously fucking entertaining as possible to really
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knock people out because the potential is there.
29:36
We can entertain people and we do have the tools to work.
29:43
To what extent that work will then be distributed, made available to the world,
29:48
that remains to be seen in terms of the major
29:52
still effectively control distribution networks
29:56
and folks still effectively expect to
29:59
watch things free on the internet so um
30:03
yeah um okay how to distribute it
30:06
or make money out of it yeah that's um
30:09
a different um art form but i'm gratified
30:12
that we're at least able to shoot that we're able to
30:15
yeah harvest material and get good material and so long as i'm still shooting
30:20
yeah i can't complain and i'm also deeply grateful to be shooting um my first
30:27
um british movie of a british movie in terms of a film which is set in a recognisable angle.
30:35
Yeah, it's good to see that there's quite a lot of independents flourishing
30:40
over there in the UK because, I mean,
30:42
I do know that Hollywood has gone back there for the tax breaks as far as using
30:49
all the studio space, but it's good to see that there's a lot of young indies out there.
30:56
I'm going to have another one on in a couple of weeks, hopefully,
31:00
that have made a low-budget sword and sorcery film, which is a genre that I
31:06
have to confess I have a deep affection for.
31:08
The 80s sword and sorcery films are coming back.
31:11
We've got Deathstalker coming, or reboot, I should say, of Deathstalker.
31:17
I was hoping someone...
31:19
I guess hoping someone does King Conan, and I guess hoping also that the Robert E.
31:26
Howard franchise falls into good hands, because I would dearly love to see some
31:31
decent sword and sorcery movies. Oh, yeah.
31:35
Oh, man, would I like to see that. Oh, yeah. I'm a huge sword and sorcery fan,
31:39
and yeah, I really would like to see the genre come back strong.
31:43
Yeah, and for the first time, Richard, they actually take Robert E.
31:50
Howard's stories and adapt them rather than come up with something else that
31:56
has Conan in it, you know? Yeah, I would like to see that.
32:00
I was just rereading Shadow of the Vulture last night. Oh, yeah.
32:05
Yeah, the original Siege of Vienna story that Red Sonja has introduced in,
32:12
which is so unlike the version of Red Sonja that's been handed down to us.
32:18
But yeah, nonetheless, yeah, it plugs you straight into what was attractive
32:22
and exciting about the character to begin with.
32:25
Yeah i mean milius milius got the
32:28
i feel milius and swartney got the
32:31
the sort of the look and the feel right but i mean they
32:33
still they still didn't really adapt any of the of
32:36
howard stories they just you know took the
32:39
character and and the scenario as
32:42
as hollywood movies are uh tend to
32:45
do they take the characters and and some of
32:48
the plot points and they're they're notoriously for
32:51
doing it to uh philip k dick too they they take
32:54
some of his really great stories and just take the spine
32:58
of it and then apply their own uh you know turn it into an action movie or something
33:02
like that but uh yeah and unfortunately all of the dick books are pretty much
33:07
controlled by one producer as far as i remember i think it's a guy named bill
33:12
morris um yeah and it's just
33:17
It's impossible to get anywhere near any of it.
33:19
Yeah. I'm very... I would dearly love to see a version of his book,
33:23
The World That Jones Made, which I think is very relevant today,
33:27
as opposed to when it was... Yeah.
33:30
It would be nice to see. I worked on a strepter for Svi Stigmata of Palmer Eldritch.
33:36
Really? Which was developed for Zoetrope a long time ago and then dropped,
33:41
which is as close as I got to it. and I've always been saddened that it hadn't happened.
33:49
I'm very interested to see Megadoc about Francis making, Mike Figgis' film about
33:56
Francis making Megalopolis.
33:59
Did you see Megalopolis?
34:01
Um, I did. Yeah. Thoughts? Um, yeah.
34:04
Um, well, I'm, I'm, I'm kind of grateful for it.
34:08
And, um, you know, I'm glad he got away with it and he got to make it.
34:13
Uh, it bent my head completely out of shape and, uh, and, uh,
34:18
I don't really know what to think about it.
34:21
I don't know whether I like it or I don't but I watched it I'm glad it exists,
34:28
ask me in 10 years time and I might have a more project.
34:33
Well after the behind the scenes it might give us a different perspective certainly
34:38
there was a beautiful re-release of Hearts of Darkness which shows of course
34:42
the making of Apocalypse Now which,
34:45
is a real treasure because as you know films like that
34:50
That will not be ever made that way again unless some madman has too much money
34:56
and decides to go off into the Philippine jungle and make an epic,
34:58
which is not out of the realm of possibilities, but we'll see.
35:04
Yeah, but nonetheless, those days have passed us.
35:07
I mean, when I look back at Dust Devil, it's a relic from a time when we shot
35:14
everything on dollies, cranes and helicopters.
35:18
And I don't think we'll ever be in a world where we'll have those tools or toys
35:23
to play with again for better or worse now we've got drones we've got easier
35:31
ways of doing things, it don't mean having to set up,
35:35
crane rigs on top of sand dunes or chase trains with helicopters,
35:41
but yeah it was of a certain time film shoots won't be that way again And I'm
35:48
concerned at how lazy a lot of action movies are these days and that we're getting
35:53
less and less real stunts.
35:59
I did have a theory on my earlier films that the film would never be any good
36:05
unless there was at least one palpable moment in the film where I risked my life for the movie.
36:12
But I don't really feel that way anymore. but I remember thinking that was legitimate back in the day.
36:19
Well, anyway, Richard, before we run out of time, Matt, it's always a pleasure
36:24
talking to you. My most anticipated movie of...
36:27
Of next year or whenever it comes out is certainly richard stanley's take on the,
36:32
the horrors of the hundred acre wood i can't wait
36:35
to see the restored dust double and the the good work
36:38
that umbrella continues to do with you and i can't
36:40
wait to see everything you got coming richard so uh until we
36:44
meet again mate thank you for being on cinema jugan oh it's
36:47
a pleasure sir you take care out there and yeah keep the
36:51
faith yes richard stanley ladies and gentlemen
36:54
never a dull conversation i sincerely
36:57
hope one day that we can disperse with
37:01
a digital distance between us and sit down and have
37:04
a beer and have a real talk not that
37:07
we don't have real talks but you know what i mean have a
37:10
real talk real in close proximity
37:13
but what will
37:17
the fates have they'll have their way we'll
37:20
just have to wait and see but you don't have to wait and see
37:23
get down to the links in the description and check out everything
37:26
all the goodness coming from richard stanley
37:29
and there's plenty on the way check the links in the description and as always
37:37
my little yugenites thank you for listening to us on spotify or wherever you
37:43
choose to listen to your favorite podcasts i'm ken hill and until next time
37:46
you've been listening to cinema.
37:53
Music.