Latest / Cinema Yūgen / Cold-Blooded Creativity

Transcript

Cold-Blooded Creativity · Cinema Yūgen

• 0:01
  G'day, that's right, it's that time again. Time for CINEMA YUGEN!
• 0:08
  Music.
• 0:19
  I don't know. Yes, welcome back Yugenites, Kent Hill here, Cinema Yugen,
• 0:23
  listening to us on Spotify or wherever you choose to listen to your favourite
• 0:26
  podcasts. Paul McFaul, author, screenwriter, musician.
• 0:30
  He's our guest today. Paul McFaul
• 0:32
  is an author and full-time musician with two CDs of music to his name.
• 0:38
  Both releases have been praised in several cutting-edge music publications,
• 0:42
  both in print and online.
• 0:44
  He is the screenwriter of the feature film Cold-Blooded, which we'll be talking
• 0:50
  about in the episode. Really cool movie.
• 0:53
  Alex T. Wong back at it again. Again, his 10th anniversary edition of the feature
• 0:58
  film Cold-Blooded, as well as the co-author of the script of the film Lilith,
• 1:03
  also directed by Alexander.
• 1:05
  He is currently, this is Paul, writing several follow-ups to Anubis,
• 1:11
  two of which are young teen or YA fiction, I guess you would call it.
• 1:18
  Very different from his debut novel. He plans to return to the horror genre
• 1:22
  in the near future and unleash something as fierce and terrifying as Anubis
• 1:28
  and Cold-Blooded as well.
• 1:29
  Welcome him to CinemaUgan, Paul McFall.
• 1:34
  Welcome, mate. Thank you for having me as a guest. Good to have you, mate.
• 1:39
  So, what movie do you love, Paul? What's a movie you absolutely love?
• 1:44
  Too many to mention. What movie do I love? Horror films or dramatic films?
• 1:48
  Any film. I'm a movie buff.
• 1:50
  First film that pops in your head the texas
• 1:53
  chainsaw massacre there you go the texas chain
• 1:55
  but i me personally in my opinion next to the exorcist the greatest horror film
• 1:59
  ever made the original i like to point out toby hoover's film from the early
• 2:02
  70s yes have you seen gargoyles 1972 directed by bill norton bernie casey yes
• 2:10
  bernie casey and who was it uh what's that guy go ahead,
• 2:15
  It was like a perennial late-night American horror, Saturday morning chiller,
• 2:22
  late-night movie all throughout my childhood.
• 2:25
  What was it? Don't Look in the Basement with Pan Darby. Ever see that movie? Yeah, yeah.
• 2:31
  Guillermo del Toro remade that with Katie Holmes.
• 2:34
  Films yeah yeah those american 70s uh
• 2:38
  low budget dan curtis style horror movies were pretty
• 2:41
  much an enormous part of my teen years
• 2:45
  i i figured i figured because while i was watching cold blooded i got a lot
• 2:50
  of gargoyles vibes man i really i can see that i don't think that was an inspiration
• 2:54
  for me and alex but i you know basically what cold blooded is it's kind of like
• 2:58
  the classic 1950s or 60s B-movie for the 21st century.
• 3:02
  Yeah. You know, it just kind of has that aspect to it. It's a lot of fun,
• 3:06
  and you kind of have the desert adventure and the cast and all that.
• 3:10
  It's basically a fun over-the-top. It's a monster movie.
• 3:13
  Yeah. You know, it goes back to movies like Tarantula and Them.
• 3:17
  And, you know, basically a lot of the great low-budget B-movies of the 1950s
• 3:22
  and 60s that got major, major actors their start, like Clint Eastwood and et cetera.
• 3:27
  So those type of movies. movies yeah no i i
• 3:30
  brought it up yeah i brought it
• 3:33
  up because while i was watching it man i mean i'm not saying that
• 3:36
  there are a lot of contrasts but there are certainly
• 3:39
  a lot of parallels as the fact that you know you've got the like
• 3:42
  old mate herman the hermit is kind of like uncle willie the
• 3:45
  crazy dude who lives out in the desert you can the berry
• 3:48
  pick and moon howler who knows all the war oil
• 3:51
  about the lizard creatures that live in in the mountains
• 3:54
  and the fact that the bernard case he wants to to
• 3:58
  get it on i always enjoyed that movie alex alex came
• 4:01
  up with the original idea for the film okay and i personally
• 4:04
  i personally don't know if he's ever even seen gargoyles yeah but
• 4:06
  i always got i got a big kick out of that movie when i was a child it's not
• 4:10
  a movie if you saw when you were like seven or eight years old it scared the
• 4:14
  hell out of you yeah yeah now what i bring it up because once i interviewed
• 4:18
  geez i can't remember his name now but he wrote event horizon you've seen a
• 4:23
  red horizon that's the only thing that does Oh, yeah, Paul Anderson movie.
• 4:27
  Yeah. The Wizard and Evil. Yeah, I interviewed the screenwriter,
• 4:31
  Philip Eisner. That's his name, Philip Eisner.
• 4:34
  And I remember listening to the behind the scenes, and Paul W.S.
• 4:41
  Anderson was talking about how they were surprised that he had not seen The
• 4:45
  Black Hole, which if you watch Event Horizon and The Black Hole side by side,
• 4:50
  again, you can see a few parallels.
• 4:53
  Although Philip Eisner. Anthony Perkins.
• 4:55
  Yeah and maximilian shell yeah i remember that movie
• 4:58
  it's a disney's attempt at a sci-fi movie
• 5:01
  and it didn't work but it's highly entertaining oh fantastic thing
• 5:04
  tremendous but was um in writing
• 5:08
  the script was found footage always the way or was there uh
• 5:11
  actually that was alex was enamored with paranormal activity and he really liked
• 5:16
  it blair witch and when we first started working on it that whole sound footage
• 5:21
  thing it was like really in vogue right now right now i mean i've There have
• 5:24
  been several paranormal activity hit movies, and it was kind of like the thing.
• 5:28
  It was something new that had been introduced to horror.
• 5:31
  But if you think about it, historically, movies like Cannibal Ferox and Make
• 5:35
  Them Die Slowly and Cannibal Holocaust, they kind of had a found footage aspect as well.
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  But it had been touched upon, but it was kind of like starting with Blair Witch,
• 5:44
  which I think he was a big fan of.
• 5:46
  So it was his idea to go for the found footage idea.
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  It was something different to kind of like the B-movie, monster movie kind of a thing.
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  I don't think I'd seen a straight monster movie that was found footage.
• 5:58
  So it was a little bit different. It was his idea.
• 6:00
  No, we were actually supposed to do a very taut thriller, kind of like a home
• 6:08
  invasion kind of a thing.
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  That ultimately didn't work out, and that was going to be found footage as well.
• 6:13
  It was basically a bunch of ex-cons who break into somebody's house with the
• 6:17
  idea of robbing the family and terrorizing them, and they had brought cameras with them.
• 6:21
  That didn't pan out, but he was really into this whole found footage
• 6:24
  aspect almost a decade ago and that's where that
• 6:26
  came yeah because the uh the version we should tell the
• 6:29
  audience right now the all the links will be in the description cold-blooded
• 6:33
  which is paul and alex alex t huang who we've had on the show before with the
• 6:38
  bang bang betty gang is out now on tubi there's no excuse not to go and see
• 6:42
  it we'll put the links in the description get over to tubi now cold-blooded it is the 10th and doing
• 6:47
  very well on tubi apparently drawing some really really big viewership Which
• 6:52
  we're thrilled. Yeah. I've seen Alex posting...
• 6:55
  Feverishly so yeah no and it's well worth it one
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  thing i will compliment you both on is is usually with these
• 7:01
  found footage films i i always have one issue that
• 7:04
  that sometimes takes me out of the movie i don't
• 7:07
  know if you feel the same but it it's the
• 7:10
  point when either the camera gets dropped and someone
• 7:13
  else now i realize that someone else has to pick up the camera
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  because the movie's got but the problem i
• 7:18
  always had like if you're running for your life are you really gonna stop
• 7:21
  up and go well i have to pick up this camera that someone else dropped so
• 7:24
  i can document myself you know i'd
• 7:28
  be running firstly i'd be like screw the camera well yeah screw the camera i'd
• 7:32
  throw it at them you know my favorite moment in a found footage movie is in
• 7:36
  the movie quarantine it's a remake of the spanish movie wreck there's a scene
• 7:41
  in it where i think it's derrick luke he's the cameraman instead of dropping
• 7:44
  the camera he takes it and smashes it into the heads and pummels the
• 7:48
  rabid people are trying to attack him.
• 7:51
  It's literally the camera smashing repeatedly into one of the zombies' faces.
• 7:55
  He uses a bludgeoning tool that runs for it and wipes off the camera.
• 7:58
  It's like, that makes sense. Yeah, I mean, it's one of those huge shoulder cameras.
• 8:02
  So he literally just takes it and smashes it over their heads and then runs
• 8:05
  for his life. It's like, I like that.
• 8:07
  Yeah. No, and I liked, well,
• 8:10
  the reason I sort of liked yours and Alex's film
• 8:14
  a little bit more than some of those is because some of
• 8:17
  the positioning of the cameras sort of gave it more
• 8:20
  of a well it was logical because
• 8:23
  that camera picked that up and that camera picked that up and
• 8:26
  there wasn't too much of that you know someone's holding the the only camera
• 8:30
  or the perpetual you know the audience's eyes yeah and having multiple camera
• 8:35
  man that was i think a different idea yeah and that worked yeah just no you're
• 8:39
  right there is no logic to like someone dropping the camera and everybody running
• 8:43
  for it and somebody picking it up and taking it home.
• 8:45
  It's something that you do see that recurrent. But it's like you look at the
• 8:48
  Blair Witch, they're out there shooting a documentary.
• 8:51
  Yes. So pretty much everybody had a camera and everybody was holding a camera
• 8:55
  at some point. That worked.
• 8:56
  If they literally were there, they were a film crew who went into the woods.
• 9:00
  So that makes sense. That makes sense.
• 9:02
  But yeah, that is a bit silly. Yeah. Well, I mean, it was like that scene,
• 9:06
  as I was saying to my wife, and we were talking about it in Cloverfield when
• 9:09
  they, at one point when they're in the tunnels and, and the,
• 9:14
  the person who has the camera gets killed and someone else,
• 9:17
  who randomly comes and picks it up, like, oh, I might be about to die,
• 9:21
  but I'll pick up this camera so the movie can continue.
• 9:27
  I will say this about Cloverfield, which is a great movie. One of the aspects
• 9:31
  was that it was because they were in the dark and the camera had a light.
• 9:34
  So there was that, so they can actually continue to see what was attacking them.
• 9:38
  But after that, after they ran into the hallway and they were able to fight
• 9:41
  off the creatures, it kind of didn't make any sense why they continued to carry the camera.
• 9:46
  Yeah, that's right. right yeah that's so that's that's why
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  uh cold blooded sort of kept me more in the loop than some
• 9:51
  of those other ones because where the camera or the
• 9:54
  cameras that were picking up the action had a more of a for me
• 9:57
  had a more of a justified position the fact that they
• 10:00
  had been prior set up and were they
• 10:03
  supposed is that supposed to indicate there were dash cams too on
• 10:06
  those cars and some of those yeah i i think yeah there was a
• 10:08
  lot of cameras that were the whole movie was basically
• 10:11
  visually by and large told through cameras you had
• 10:15
  the cameras over the porches you had the dash cam cameras you
• 10:18
  had the handheld cameras it was very much almost like you had the guy who had
• 10:22
  surveillance all over his house who was the made the big time tv producer so
• 10:27
  basically it was almost like everybody was under surveillance and that kind
• 10:30
  of added to the reality of it that basically the whole movie was told through kind of a visual.
• 10:37
  Hidden cameras or exposed cameras it was all found footage in a way other than
• 10:41
  honestly other than some of the scenes involving the movie producer,
• 10:44
  which took place at his house, which not quite was covered in cameras because he had a home invasion.
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  I'm pretty sure that was my idea for him to his whole house to be under constant
• 10:53
  personal surveillance.
• 10:55
  So that kind of added to it. It's like these people's entire worlds is basically
• 10:58
  got a camera running at some point.
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  So that was kind of an aspect of it. Was that kind of an offshoot,
• 11:05
  as you said, from the original concept where it was going to be a bunch of dudes breaking into a house?
• 11:09
  That actually came after. that actually that
• 11:12
  was something we worked on about a year after we finished um no
• 11:16
  i just wondered because it sounded like you were you initially it
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  was going to be kind of like some sort of desperate hours meets paranormal activity
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  and yeah well there wasn't not really a horror aspect in the supernatural sense
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  when it had that desperate hours you know armed men except these guys weren't
• 11:31
  taking hostages these guys are just monsters you know these guys were basically
• 11:35
  more More like hardcore criminals,
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  rapists, stuff like that, who were basically looking for a family to terrorize.
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  And the house was under constant personal surveillance because the guy had his
• 11:47
  own surveillance system to protect his family, and it didn't work.
• 11:51
  So you had the found footage aspect, but you also had the surveillance cameras,
• 11:55
  which were – so it was a little bit different, but then it actually came like
• 11:57
  a year or two after Cold War. Right. Oh, dear.
• 12:01
  But so do you, I mean, actually, I should mention, we actually did a short film
• 12:07
  that some people might be able to find up on YouTube.
• 12:09
  Oh, okay, cool. Yeah. So, yeah, I can send you a link to that. And what's up?
• 12:13
  I can't remember the term it was. Was it 360? 360.
• 12:17
  When people would make films that were 360 where you could look around the entire
• 12:20
  room up to the ceiling. Do you know what I mean? The 360 motion.
• 12:24
  It was a 360 short film where literally you had your set shot and you could
• 12:30
  then basically move the film all around.
• 12:34
  The footage around and see what was going on in the entire room while the movie played.
• 12:39
  So it's like somebody was acting over here. Somebody was acting over here.
• 12:41
  Somebody was in the other room. and you could kind of move around and see what
• 12:45
  everything was going on in the room as opposed to one wide shot.
• 12:49
  I think that's what it was called, Three Sick Doubts years ago. Yeah, no, I like it.
• 12:54
  I like it, yeah. Well, if you send us a link, people can check that out, links for that.
• 13:00
  But, you know, I like innovative storytelling as far as the photography is concerned. I'm a big fan.
• 13:08
  Mike Figgis, as it's been in the news, has been chronicling coppola's
• 13:12
  megalopolis which i can't wait to see his behind the scenes
• 13:15
  documentary didn't he make time code time joe
• 13:18
  that's exactly what i was gonna talk about do you like time code i
• 13:21
  really enjoy it's an interesting it's an interesting film yeah i
• 13:24
  love how it all converges at the end like you think okay
• 13:27
  it's just following these random yeah four characters
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  but then when they all converge yeah when
• 13:34
  you see something like that like a movie with three different
• 13:37
  scenes and three sets of actors and it's split down the the middle
• 13:39
  of the screen we've got a movie to the right and a movie to the
• 13:42
  left and a movie in the middle and you've got a that's different yeah that's
• 13:45
  kind of groundbreaking that's kind of unique not just a
• 13:48
  split screen but literally watching three separate movies simultaneously and
• 13:52
  seeing how that that kind of thing to me would be interesting but time code's
• 13:55
  a real interesting movie yeah maybe maybe a little bit ahead of its time for
• 13:59
  its time period oh totally and in reading about robert zemeckis's new project
• 14:04
  that may be here based on the graphic novel where it's supposed to be a locked-off
• 14:09
  camera and everything's going to,
• 14:11
  centuries or years or whatever, going to transpire in front of this locked-off
• 14:15
  camera sounds interesting.
• 14:19
  It's avant-garde. It's different. It harkens maybe back to the 50s and 60s experimental
• 14:23
  cinema. Definitely a new...
• 14:26
  Zemeckis is one of my favorite directors. He's like that Spielbergian,
• 14:29
  Lucas-like guy, the fantasist with the Lou Ferrigno, Roger Rabbit,
• 14:33
  stuff like that. He's a great film director.
• 14:34
  That sounds interesting. That's the first time I heard about that,
• 14:37
  actually I actually really enjoyed his Welcome to Marlin based on that Marlin called,
• 14:42
  documentary with Steve Carell's action figures and stuff like that,
• 14:47
  I thought that was good I've heard Coppola's new movie is very challenging,
• 14:52
  Oh, Megalopolis. Yeah, I'm very. Yeah, I've heard that's very.
• 14:55
  It's like he even had like during one of the screenings, he had actors in the
• 14:58
  audience interacting with people on the screen and arguing with them. Wow.
• 15:03
  And multiple. I don't know how they're going to pull that off in movie theaters
• 15:06
  or if it shows up on Netflix, but it was interesting. It's different.
• 15:11
  You're sitting there watching it. Next minute you turn and there's Adam Driver. Yeah.
• 15:17
  Well, somebody was in the audience and started arguing
• 15:20
  interviewing with adam driver on screen and the dialogue
• 15:23
  and the external dialogue in the theater linked up to what
• 15:26
  was on screen and the audience didn't know what the
• 15:29
  hell they were watching because it seemed like he was almost holding
• 15:32
  a conversation with adam driver's character then he
• 15:34
  stormed out people like well what the hell was that he did it at multiple screening
• 15:37
  but it is it is different it does hearken
• 15:41
  back to that kind of experimental phase of
• 15:43
  the 60s yeah well i like or at least
• 15:46
  going back to william castle's theory of getting the audience involved
• 15:49
  old thing well that that too that exploitation thing like
• 15:52
  the tingler and stuff like that and that's different that's different
• 15:55
  you see that with 3d but it's real it's a physical thing
• 15:58
  where some something's literally touching you but yeah that's that's a bit different
• 16:02
  yeah i've never been to one of those 4dx movies i don't know if i could enjoy
• 16:06
  the movie while being shook around and having water squirted in my face or something
• 16:10
  i've never done that i've never been to imax unfortunately where i live there
• 16:14
  aren't really any imax theaters in the area yeah yeah it does,
• 16:19
  It sounds, look, it sounds, it sounds fun.
• 16:22
  Like if it was a, if it was a rollicking movie, we'd have to think too much.
• 16:25
  Like, you know, like a Fast and the Furious movie, you know,
• 16:29
  that, that kind of environment would be fine because, you know,
• 16:32
  those movies don't have any details or nuances that you, you can sit and chew
• 16:37
  on. They're more like a Big Mac than a steak dinner.
• 16:41
  But yeah, it's something that is definitely like, I mean, look,
• 16:45
  it may, it may be just a gasp.
• 16:48
  The theater's trying to get people in in different ways i mean
• 16:51
  gimmicks gimmicks are gimmicks for a reason they're
• 16:54
  here for a while and it sounds like yeah and then i was i
• 16:57
  was really happy when they brought back 3d but it just kind of fizzled out it
• 17:01
  seemed to peak with avatar and that was it i remember seeing beowulf and movie
• 17:06
  theaters you know with uh right i think it's uh angela jolie was it ray winston
• 17:10
  when oh yeah right i was just i was just uh i sat in the front room and i was
• 17:15
  just stunned you know i spent an entire movie
• 17:18
  just with like bay wolf here and john malkovich's character
• 17:21
  here and you know anthony hopkins standing
• 17:25
  in front of me i remember a scene where he splashed some
• 17:27
  gold off a table some gold coins and when they flew right at me over my shoulder
• 17:31
  i was just like this has spent avatar in theaters with the full 3d was incredible
• 17:36
  and jump forward i mean how long has it been since avatar decade yeah and so
• 17:40
  it's just it's just gone it's like when's the last time you saw a 3d movie it's
• 17:44
  like the gimmick ran out even even though it was incredible.
• 17:46
  Yeah. Oh, well, I mean, I did. I mean, look, there were movies that were, as you know, made for it.
• 17:53
  And then, of course, there were ones that were converted to 3D to cash in on
• 17:56
  the- I saw one of those, actually. I saw Wes Craven's Red Eye.
• 18:00
  Right. And I'm pretty sure that had been- It was either that or My Soul Today.
• 18:04
  And it did add a little bit of definition to the images on the big screen, but not much.
• 18:10
  And all it did was add $3 or $4 to my ticket price and make me wear glasses
• 18:14
  so I didn't look at a blur for two hours.
• 18:17
  So I think they exploited it to a certain extent to increase box office and things like that.
• 18:25
  But it's a pity it's gone because Avatar was incredible. Seeing a movie like
• 18:29
  that, that level of 3D, it was really added to that pure cinema experience.
• 18:33
  Yeah. Really incredible.
• 18:35
  Yeah. No, I liked the first one. The second one was a bit like James Cameron
• 18:40
  trying to remake Piranha 2 The Spawning with his big.
• 18:44
  You know, didn't catch that. Piranha 2 The Spawning, like those big flying fish in there.
• 18:50
  People, when they talk about James Cameron, and they laid piranha to
• 18:53
  the spawning out of the conversation way too much oh yeah
• 18:56
  those big flying fish in in or
• 18:59
  whatever they were on on pandora just as
• 19:02
  soon as i saw that i go wow he finally got to do like a
• 19:05
  big budget piranha to the flying the the
• 19:09
  flying killer fish things which is great he used to make fun of that movie in
• 19:13
  interviews that he did i saw an interview he did years ago with david letterman
• 19:17
  letterman made jokes about the movie and he cracked had a couple of funny of
• 19:21
  one-liners about it so but yeah i died people who never even talk about that movie yeah i mean.
• 19:27
  It's early cameron but i mean it's part of
• 19:30
  it you know i suppose yes profile people can leave
• 19:33
  stuff out of their resume if they want to but yeah
• 19:36
  so paul you you're not just a screenwriter you're
• 19:39
  a musician you're an author oh yeah i've been
• 19:42
  involved in music off and on since the late 90s i work more in the underground
• 19:47
  cult music scene so it's not exactly kind of like a mainstream stream thing
• 19:51
  i'm not out there you know doing hip-hop and mainstream pop music which is that
• 19:55
  i've been involved in folk music as well as country music but i work more in the kind of extreme.
• 20:01
  Genres of music i haven't actually worked on
• 20:04
  anything musically for several years but the i
• 20:07
  i worked and recorded a couple albums for some independent record
• 20:10
  labels and things like that i to be honest only recently
• 20:13
  i started getting back into music thank you
• 20:16
  so it was something i had kind of left behind to focus on being a
• 20:18
  novelist and being a screenwriter so more recently
• 20:22
  but just screenwriting and you know working with
• 20:25
  people like alex that's pretty much uh my main focus i
• 20:28
  have been working on a couple novels recently my first
• 20:31
  novel came out my first and only novel came out in 2014 so
• 20:34
  i felt it was time i'm going to be reissuing that novel anubis
• 20:37
  soon in a hardcover edition and so
• 20:41
  yeah but the music thing i it's something i kind of left to the
• 20:43
  past because even though it was artistically inspiring it wasn't exactly going
• 20:48
  to lead to anything resembling a mainstream commercial career but most recently
• 20:53
  i started reviving that and getting back into it very good and and a cow blood
• 21:00
  is of course the 10th anniversary.
• 21:03
  Yes. That's out at the moment. So do you have any other films that you're working on?
• 21:10
  Well, you know, previously there was a movie I did with Chase Dudley called Locked In.
• 21:14
  Locked In. Which came out through Cut to the Chase Entertainment.
• 21:17
  I wrote the original script for it.
• 21:19
  And that was available for rental on Amazon.
• 21:22
  I think it's currently available on Tubi. Okay. And that's kind of back to the
• 21:28
  found footage thing. It was basically an idea I had originally.
• 21:30
  I started developing it with Alex under the name of The Crate.
• 21:34
  And eventually I rewrote the script top to bottom and worked with Chase Dudley
• 21:38
  on it, who has several films available.
• 21:41
  It's a very, very dark story about a serial killer who enjoys doing fairly horrific
• 21:48
  things on video and realizes that there's a market.
• 21:52
  And gets onto the dark web and he starts
• 21:55
  selling these videos to certain
• 21:59
  people who have similar tastes as
• 22:02
  he's basically takes his out of
• 22:04
  control behavior and his his sickness and
• 22:07
  evil and makes a career out of it right so uh
• 22:10
  you know it's like a twisted only fans kind
• 22:13
  of thing well you know in a way in
• 22:16
  a way he basically in my original script he's a guy who
• 22:19
  wears a devil mask desk and he spends his entire
• 22:22
  career on camera with his face covered with local
• 22:26
  mafia people like that but does he think he's
• 22:29
  satan or is he actually is no no no it just covers face because
• 22:32
  he's signaling he sells these on the internet he hooks up with the mafioso an
• 22:37
  old old jewish mobster who's involved in some nefarious things and he tries
• 22:41
  to take his work and make it global through the dark web and say he loves what
• 22:45
  he's doing why should he make money off of it right And it was kind of the story
• 22:49
  of an innocent, almost virginal.
• 22:51
  Christian school goal teacher and a street prostitute who wake up one day after
• 22:55
  being kidnapped and find themselves locked together in somebody's basement with
• 22:59
  a camera aimed at them and basically a total monster in a devil mask who views them as entertainment,
• 23:04
  as pleasure and money, and how they basically survive.
• 23:08
  My original script was great. The finished film's a little bit different.
• 23:11
  It's about 65% to 75% of my script.
• 23:14
  The title was changed to Locked In originally from... Excuse me.
• 23:18
  Excuse me, I'm on the internet Thank you,
• 23:24
  It happens You tell someone ten times You're going to be doing an interview
• 23:28
  And they still knock on your door I'm at home,
• 23:31
  But yeah, it's a very, very dark film It's a little bit darker in the script
• 23:36
  But it's still fairly dark and intense,
• 23:39
  But yeah, Chase releases himself He puts his own movies out To his cut to the Chase Entertainment,
• 23:44
  Ultimately, I was happy with it It starred
• 23:47
  Robert Mewkes from what was
• 23:50
  it house of thousand corpses yeah yeah yeah a couple
• 23:53
  of independent actresses nalia who's a great i think she's from russia great
• 23:57
  actress yes all the people were great in it but it's pretty close to my original
• 24:02
  script i say about 70 but it's a very underground cult kind of movie it's it's
• 24:07
  definitely not for the it's definitely for the initiated it isn't uh kind of like.
• 24:12
  Cobalt which is more like a b movie or a movie right
• 24:15
  fun monster thing it's kind of a little bit more intense a
• 24:18
  little bit hostile a little bit more serbian film
• 24:21
  that kind of a thing it's more like being hit over
• 24:25
  the head with like a 10 pound sledgehammer as opposed
• 24:28
  to you know just like oh this is a fun scary
• 24:31
  monster movie that we made with cobalt it's a little bit more intense and underground
• 24:36
  and cold that was the original script was a little bit more dramatic but it
• 24:40
  was even more brutal wow so it's it's like it was like a script that didn't
• 24:44
  flinch and didn't pull any punches and the movie doesn't either it's a little
• 24:48
  less intense but it's fairly intense.
• 24:51
  Well paul mccall if you like extreme cinema you would probably enjoy oh well
• 24:56
  let me put it that way oh look i i'm the dude that's got a t-shirt this is i'll
• 25:02
  try anything once but but no mate I really enjoyed Whole Blooded.
• 25:09
  I can't wait to read the reissue of your book. I can't wait to see more films.
• 25:14
  One of the questions I did have coming out of watching Whole Blooded,
• 25:18
  and you being the writer could probably add some substance to it.
• 25:24
  I like the scene. It says in the description that they're college students,
• 25:30
  and they have a teacher's aide, and they're running around with a cooler there in the desert,
• 25:35
  it and the kid wants to get a beer out
• 25:37
  of the cooler i thought you don't want to go to that school where the the tas
• 25:41
  take out coolers full of beer for like hiking
• 25:44
  expeditions and stuff man well they're
• 25:47
  college students you know these guys basically spend four years with
• 25:50
  a with a bong or or are basically a keg of beer stuck to their mouths so no
• 25:57
  it's in america trust me drinking heavy drinking and partying is quite normal
• 26:02
  for the american educational systems all the way up I liked how the supervisor knew like the,
• 26:07
  that one dude who's missing from the party.
• 26:10
  And she goes, he says, Oh, where is Andrew?
• 26:13
  And she goes, well, he's gone to take a crap. So he's going to be a while.
• 26:17
  And I was just like, how does she know Andrew is like, you know,
• 26:22
  gonna be a while like how does she know i don't know
• 26:25
  that's a good that's a good point i don't think i wrote that line of dialogue that
• 26:28
  might have been an improv improv by charles and company
• 26:31
  i i'm trying to think of that line it just it
• 26:34
  just stuck with me afterwards like how does she know how long andrew's gonna
• 26:37
  take taking a crap out there in the in the
• 26:40
  no i have maybe maybe she's hung
• 26:42
  out with him in a dorm room and watched him go into the
• 26:45
  bathroom and noticed how long it took him to come out you'd i'm
• 26:48
  this this that script was written almost
• 26:51
  a decade ago so your guess is good i don't
• 26:54
  know i just i i just it just seemed like an
• 26:57
  interesting beat and like i realized why it's there because andrew's obviously
• 27:01
  already been killed by the dragon man on the mountain but you know he's like
• 27:06
  most of the poor unfortunate men had their guts ripped out and well yes he likes
• 27:11
  the ladies so yeah it's a preference for the ladies yeah i didn't and And again,
• 27:16
  that's why I came back to Gargoyles, because I remember Bernard Casey wanted
• 27:19
  to keep Jennifer Salt, you know, all to himself.
• 27:23
  And then when I saw that he was look, he was looking for a new girlfriend,
• 27:26
  a new wife, not a new, not a new breeding partner.
• 27:29
  Yeah. Kyle would. Yes. Yeah. But I think Bernie Casey was looking for love.
• 27:35
  The reptilian wasn't looking for love.
• 27:38
  He was. No, no, no. You pretty much know what happened to these ladies after they gave birth.
• 27:42
  They pretty much ended up in his stomach. sure they
• 27:45
  weren't being kept around yeah no i didn't i
• 27:48
  that that ending i tell you what cold-blooded i won't spoil
• 27:51
  for people but when the ending came around when i watched it
• 27:54
  i didn't see that coming it it went
• 27:57
  from like a found footage movie into something that a friend and sadly no longer
• 28:03
  with us larry cohen it reminded me a bit of of kind of like a larry cohen movie
• 28:09
  like it's alive and well yeah it's got a little bit of that john uh john god told me to kind of Yeah,
• 28:16
  that kind of dark, twisted little stuff. Oh, yeah.
• 28:20
  Nice little sharp shock. Nice little sting in the tail at the end.
• 28:24
  She won the T-shirt, you know, I survived being screwed by a lizard dude.
• 28:30
  But yeah, but Paul McFall, listen, mate, thank you for being on Cinema Union.
• 28:34
  All the links will be in the description.
• 28:36
  All this cold-blooded, the 10th anniversary edition is available right now on
• 28:41
  Tubi. There's no excuse.
• 28:42
  The links will be in the description to all Paul's work. Keep your eye on the man, very talented man.
• 28:48
  A lot of cool stuff. He's done a lot of cool stuff. A lot of cool stuff coming
• 28:52
  up. Yeah. A lot of cool stuff in the pipeline.
• 28:54
  Paul, mate, thank you for being on. Thank you for having me.
• 28:58
  Yes. Thank you, mate. Paul McFall, talented man.
• 29:01
  Check out all of his links in the description and get over to Tubi right now
• 29:04
  and check out Cold-Blooded, Alex T.
• 29:07
  Wong's super incredible, seriously scary and thrilling Cold-Blooded right now.
• 29:16
  Tubi, get over there and check out all of Paul's links. Links in the description
• 29:20
  to keep up with all of his great work.
• 29:22
  And as always, thank you, little Eugonites, for listening to us on Spotify or
• 29:28
  wherever you choose to listen to your favorite podcasts.
• 29:32
  I'm Kent Hill, and we'll see you next time on the one and only Cinema.
• 29:39
  Music.