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The Slave and The Sorcerer: A Love Letter to Sword & Sorcery · Cinema Yūgen

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G'day. That's right. It's that time again. Time for Cinema Yugen.
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Welcome back, Yugenites. Hello.
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It is good to be back. Cinema Yugen, your host, Kent Hill, The Slave and the
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Sorcerer, our movie of the episode, in another world, another time, in an age of wonder.
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I was a boy who loved swords and sorcery, deathstalkers, beastmasters,
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wizards from lost kingdoms.
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It was all the sugary, coated cereal from which I sucked greedily.
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Then it seemingly vanished.
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But now writer-director Laurie Brewster and his co-writer Sarah Daly have given
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me back that happy comfort cinema I thought lost.
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This is a magical valentine to a once thriving genre.
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It is the film titled The Slave and The Sorcerer.
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For the rest of my Film Threat review, go to FilmThreat.com But right Right now,
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Yugenites, you lucky ducks, welcome to Cinema Yugen, those beautiful,
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powerful people from the slave and the sorcerer.
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Olu the Torturer, and the super sexy name and the sorceress,
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Laurie Brewster, and the beautiful Megan Tromethic.
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Welcome, beautiful, powerful people to Cinema Yugen.
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Wow, thank you. yes the crowd goes wild yeah,
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Don't everyone talk at once.
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Just stunned. It was such a great introduction, which is speech-like. Oh, that's okay. Yes.
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And it's a real pleasure to be chatting to you today about the slave and the
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sorcerer. The slave and the sorcerer.
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Orlo, the torturer, man. I love, can I just talk about Richard Pate for a moment
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and how much I love his performance and listening to the commentary,
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I was interested to learn that you didn't give him any direction to do that. He did that, right?
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Yes. He sounds like Ted Theodore Logan meets William Shatner,
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you know, with his delivery, you know, with those little pauses in it.
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Like, you know, take him down to Arlo, the torture, you know. You nailed it.
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That is exactly it. I mean, I've worked with Richard Pate for,
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oh, must be about 10 years on and off different films.
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And he has something of the spirit of Crispin Glover about him.
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I was just about to say that. He's like, as soon as I saw him,
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I'm like, man, he looks it.
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Cause what was weird is I just reviewed a Crispin Glover movie for film threat.
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It was Mr. K. If you've seen that, it's really weird.
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Yes. I've not seen that yet. It looks interesting though. Kafka-esque. Mm-hmm.
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The ending is just,
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batshit insane it's um
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yeah but as soon as i saw me go when he's like
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is this like the lost crispin glover like
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who you know is he related to him but yeah
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fantastic well i had these ideas you
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know of how he might play the king but
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i knew knowing rick that
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he would have his own ideas and he would build something
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normally totally outrageous wild
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and bizarre and it was brilliant because yeah i mean i could never have conceived
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of that but he had no idea his costume would be like that either though with
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the long hair and everything so that was interesting because it looked perfect
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his opinion the costume was,
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Yeah. Glam rock look.
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Originally, he was going to have his own hair and things. And then we just saw
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the wig and we were like, yes, this.
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And that delivery. So, witch, do you want your freedom? You know?
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So, tell me, witch. Do you want freedom? You need to get a practitioner magic.
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It's great stuff. God bless you. Same with that other chappy you've got in there. It was John Amass.
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Oh, he said he's a Swedish chap.
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Yes. He's a, he's a wonderful chap, but he's actually a doctor.
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That's his, his real, his, but he's passionate about performing in film. He's fantastic.
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I love, I love him and, and Grimaldi. Grimaldi's got a great sort of Rory.
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Tell who sort of thing going Rory McCallum sort of thing going where he does that.
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Oh, you know, When I am king, it'll be you.
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It's like the pussy speech in like Dusk till dawn. It's fantastic the way it pops in there.
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Yeah, so Chris Capaldi, he was hilarious. I was a prince larb.
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Sorry, Capaldi. What did I call him? Romaldi. Sorry.
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Sorry, Chris. Forgive me, Chris. You know, he used to be the face of Scotch
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beef, which was a big advertising campaign to make people buy beef from Scotland.
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So they would have him be arrested with a kilt. Oh, like, like Harrison Ford for, uh,
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For Glenmorangie. Exactly. Tantalizing middle-aged ladies across Europe to buy Scottish beef burgers.
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And bull ladies. My mother would end up and bought one immediately.
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I think he's a little bit like, he reminds me a little bit of Sean Connery,
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like a younger Sean Connery. Yeah.
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But he has a great dark age. But not quite Darby O'Gill Sean Connery.
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Yes. Isn't it great? I read in the news the other day how people are rediscovering
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that Cause that's the only movie that Sean Connery ever sang in, you know,
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and standing in the doorway was a pretty Irish girl, you know? Yeah. Fantastic stuff.
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God bless the great Scott. It's, it's difficult to, to conceive that we live in a world without him.
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Yeah. He had to spend a long time in prosthetics for his exciting fiery.
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Yeah. The fiery, the fiery conclusion, the barbecue at the end of the movie. Yeah. Yeah.
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Very long seen that wasn't it? It's funny how he got torched and Megan got frozen.
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Like Sub-Zero in Mortal Kombat sort of style.
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Yeah. We were working with deep elemental metaphors, Kent. I know, mate. Yeah.
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Now let's talk about one of my favorite bits. You're getting slow.
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Let's talk about the commando bit because I love this. Do it. You've got to do it now.
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Yeah, I know. Okay. Yeah. You're getting so...
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There was no Tyrell. You're getting him. And look...
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I'm friends with Vernon Wells, and I'm going to make sure that he sees that.
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Oh, please, please do. I would love for Vernon Wells.
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That's one of my favorite Vernon Wells. John, stick your head out. No, John. No.
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I don't need the girl. I don't need the gun, John. I can beat you.
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I'm sorry to do my... I don't need no bag of time. I love how it gets,
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I love how it starts very sensual though. Like how you like. Yes.
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There is a subtle, a very subtle, thin homoerotic veneer. What was the baby
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oil? What was the baby oil budget on this lady?
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Cause Chris is coated in it in different scenes. He has like his varying,
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varying degrees of baby oil on him.
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Seems really. i i mean i always
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loved brunham well always loved his his work
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and when i was growing up you know watching commando and
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also mad max 2 as well and
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he's just so i always loved him and you know commando is just such a fun film
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and with the arlo the torturer it felt like this was a perfect opportunity to
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pay homage and tribute to brunham wells and commando with an outrageous over the,
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homoerotic, medieval, song sorcery, fortressy.
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I just love that when you were filming it and you were hitting the amazing Chris
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Black with your, what was it? I had a rubber club.
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He would always make the sound effects with his voice.
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He'd be like, Laurie, stop making the sound effects, they're going to be added
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in post, but he wouldn't stop.
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Like they might have made it to the final film. It was very powerful method
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performance, kind of how to make the sounds.
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And of course, Brennan and Trandall has a close up where he goes, I'm going to kill me out.
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So I had to do the exact same. I'm going to shoot you between the eyes.
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Shoot you between the balls.
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Yeah, great stuff. As soon as I saw that, I thought this is like,
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this movie just keeps getting better and better.
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Not only is it my favorite flavor, it's just got everything.
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It's got big trouble, little China in there.
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It's got all that sort of good stuff. But just, yeah. Yeah. Chris Black is a fantastic hero.
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He's sort of a little bit Rick Hill and a little bit John Terleski.
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He's sort of the two death stalkers sort of rolled into one.
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The comedic version and the slightly like, you know, I'm not to be trifled with version.
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That was important. I mean, I am a huge fan of all kinds of cinema.
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Sometimes it's arty stuff, other times it's like exploitation genre stuff which
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i all consider great cinema and i never i don't i literally don't believe in
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the idea of the guilty pleasure it's just a real pleasure,
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so i mean you either enjoy it or you don't for whatever reason right so for
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the original death stalker and the sword and the sorcerer beast master and all and then these films,
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you know i always enjoyed these films and we had a lookbook we were producing our film for.
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Director of photography or something we were just working through it making sure that we,
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because you literally had to deprogram your brain a bit
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to really think about filming these this this
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particular film saving the sorcerer in an ironic way
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and not in a way that would be swayed by
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the films we consume today which
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are different they're shot differently they're edited differently
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yeah just because you enjoy watching them it changes when you try to make one
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and when we were shooting it dop broke down and he turned to me he's just laughing
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and he was like are we literally making an 80s sword and sorcery film without
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a shred of irony and it's like yeah.
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You you you actually you actually
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distill it down you actually distill this whole this
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whole part of this discussion down into
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a beautiful soundbot in the commentary when you
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say you cannot critique the cheese you must celebrate
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the cheese you must embrace the cheese because
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it's cheese we all know it's cheese right but you can't like you say you can't
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attack it though like oh i'm smarter than this this is dumb stuff right i'm
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not a fan of that because i always feel it's it diminishes the value of the
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material that has inspired,
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the person to make something which in theory is inspired by it i think it also
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patronizes and condescends the audience which is often a hardcore audience that
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has been carrying the torch of those phones for decades before and it's often to appeal to,
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a kind of audience segment that wants to watch something feeling smarter than
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those that might have liked what
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it was inspired by and i do not like that sort of kind of performative.
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And kind of i wouldn't
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call it intellectual because it's not it's it's selling
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the pretense of intellectualism you know
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watch this ironic take on this thing where
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we've updated it with modern values that fits
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what was wrong about what came before and you feel smarter
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for liking this version which makes fun
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of people who still like the old stuff in a non-ironic way that's like you know
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if i'm allowed to say fuck him those kind of people we want if you're going
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to make an 80s film make it with heart and soul yeah things that made those
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films lovable yeah not taking them out to make it what people might like today,
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but no, we're not treating him like a spoof.
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You know? Yeah, absolutely.
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I was, I admit, I was really disappointed. Did you ever see that your highness,
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it was like Frank, James Franco and, and he's mate, they always forget his name.
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Is that the one with the, not Natalie Portman getting dressed?
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Yeah, Natalie Portman too. Yeah. Yeah.
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Because that's a good bet in the film. The rest. Yeah. Like I was really,
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I was looking forward to that, but they kind of did what we were talking about.
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They kind of made fun of it more than,
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romanced it you know what i mean some some
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bits but they they kind of they made a i think
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they made a pig's method really but uh yeah i
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mean it's i mean because we're a boutique
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sized film studio like we can afford
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to make films for a
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more a smaller yeah yeah
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exactly yeah yeah it's actually just lucky that our audience
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prefers that type of film anyway the kind
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of the kind that we all love to make they prefer more niche
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things i i don't think they would like something that was trying to be like
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just a blockbuster a modern day thing we need we look so that's the that's the
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thing that people don't get the people that only watch movies that are in the
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multiplex don't get is there are
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so many layers to the film business and filmmaking in general and we need.
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Small companies making you know handcrafted things
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passionate things that are either tributes or
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originals material we need those things
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because the mass mainstream might be where all the money is but it's certainly
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devoid of creativity at the moment i mean look at what we're getting next year
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there's another masters of the universe movie there's going to be another ninja
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turtles movie our childhoods are never going to go away. Yeah.
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That horse has been flogged so much. It's been flogged to the bone and now the
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bones have been flogged to powder.
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And then the next, we'll have to mix the powder in a, in a broth and drink it.
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You know i mean i couldn't agree more yeah
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because there's just it's if
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it's not a remake it's a sequel or a reboot or
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something else and something else
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now a lot of people might argue with me and say well this is
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kind of i say well no because it's more of
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a valentine than a throwback because if
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it was a throwback if you were generally looking just to cash in
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on something you wouldn't make a sword and sorcery film you know
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you're completely right the only way you would
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try and justify a more commercial level is by trying to appeal to fans who might
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not ordinarily like this sort of film by making it all seem like a spoof or
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a joke yeah and of course you would have to remove the so-called problematic
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elements like for example nudity or whatever Honestly,
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some of the newer films that are trying to tap into more violent fantasy films
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are almost made, I think, for gilded men who are so afraid of any form of depicted sexuality.
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I know, it's a very androgynous society we've seemed to have slipped into where
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the male and the leading man and the leading woman like to touch foreheads more than have a good snob.
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It's like a Frank Frazetta painting Without It uses power and sexuality Which
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is something You bring to the Naman character Thank you That's a nice segue.
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Oh look, Megan If there was ever a Frazetta girl That ever walked the earth You're it, my dear,
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I'm honoured, thank you I'm a card-carrying Frank Frazetta fan On my desk I've got my I've got my
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fire and ice oh that's so cool my dog i love it oh that's awesome it's good
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oh that's amazing there's some melchor on there,
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Oh, I'm missing myself. Yeah, well, Frank Pizzetta was an influence on your
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style and costume design and things as well.
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Yeah, yeah, definitely. I was lucky enough to get to design my own costume and,
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well, quite a few of the costumes for The Slave and the Sorcerer, actually.
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And yeah, I took tons of inspiration from Frank Pizzetta for all the ladies'
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costumes and a little bit from Flash Gordon as well, because I do love a space
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opera. Oh, yeah, yeah, yeah.
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Yeah. And what great production, well, costume design and production design for Flash Gordon.
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It's a real gem, real gem.
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I love how you went with kind of like the, you went more with the Chuck Cyrano
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kind of Deathstalker 2 score, like the sort of synth score than the orchestral, which,
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you know, I know that the original Deathstalker and some of them have classic scores.
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I mean, you know James Horner's score for Battle Beyond the Stars, yeah? Mm-hmm.
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When I first heard that, I did not know that that was the soundtrack to Battle
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Beyond the Stars because I first heard it in, because Roger Corman owned it
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and he loved to get, like, a lot of life out of these things.
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That music pops up in Jack Hill's Sorceress. It's the opening music for Deathstalker 3.
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Oh, gosh. Yeah, it pops up in so many, just that, that's like in so many,
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Wizards of the Lost Kingdom, it's like the heroic theme. Yeah.
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It pops up so much, that music. I mean, I would have liked, it would have been
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great to have a sort of orchestral soundtrack.
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But it was just so expensive. So then we thought, well, you know,
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let's go with another cool alternative style.
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And I worked with Aidan. Aidan D. Higgs. Aidan D. Higgs.
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And we basically composed the soundtrack together.
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And actually, yeah, it worked out well. I remember a friend of mine who was a sound engineer.
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He was like, is this the final music? Or is this just some shitty tempo thing
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that you guys have put together?
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I was like, you don't understand. You'll never understand.
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He works like in a slicker studio stump. And he's like, fuck you,
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this music's perfect for the film.
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Yeah, especially when you bring in the rock music, when Chris,
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you know, stands in front of Megan there, pouring water all over his boobs.
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Or his boobs. Oh, yeah.
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That's like Corbin Decker. Yeah, Throne of Iron. Throne of Iron. That's right, yeah.
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Yeah, they're like a band in the Midwest. and they're, they're,
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fantastic and they did all the rock
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music that can electronic power ballads yeah yeah like they're the friend of
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theirs singing for the the kind of bonnie taylor inspired song you know and
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everywhere the montage for fighting all the bad guys or everything it was it was the perfect music to,
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for chris to uh have a quick a quick wash after pushing the top of that uh that
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casket the concrete casket open.
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I don't think anyone took me seriously when I suggested that this scene was
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actually going to be filmed.
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I did. I know him well. I know when he says these outrageous things, they will be true.
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They will be masked as a joke, but they will be true. And we will do them.
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Megan, I have to ask. Having the war beads hang off his chest.
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Megan, I have to ask. You are the queen of reactions in this movie.
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Your reactions all your reactions in this movie are priceless and
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i have to really i have to give you compliments too and
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also to everyone in the cast is is reactions to me
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actors reactions to me sell what's going on in the scene and i always give this
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example from the talented mr ripley and when matt damon is is doing his impersonation
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of jude law's father to gwyneth paltrow right
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Now, if you listen to the act of the,
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matt damon is imitating he sounds
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nothing like him but you buy it
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because jude law buys it in the scene the
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way jude law reacts to the the the
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way he's doing he's like my god it's like the old bastard's really
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here you know and that's
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why you buy it because matt damon's impersonation is dodgy it
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doesn't sound like the bloke at all but because
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jude law reacts to it like oh crap it sounds like my father's really here but
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the way like one of my favorite reactions that megan does is when the second
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dude gets his head blown off by the dude with the laser eye in the back of his
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head oh yeah i was like which not when not when uh laurie's like reg flashart.
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Yeah that's exactly him yeah not when
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reg flashart gets it but when the other guy gets it megan's reaction to
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that is like the best reaction in the whole movie it's
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like fear disgust um excitement
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maybe a little bit in there it's like of course didn't
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see that coming you know um but then again it is a dark it is a dark mystical
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dungeon with uh with all sorts of scary bits in it i love the i like the when
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they had to fight the that sort of the dark knight down in the in the catacombe
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It reminded me of, did you ever see that movie, Sword of the Valiant?
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Again, the kind of film where he plays the Green Knight and he fights that dude
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who's the guardian of Leoness. Yeah. Yeah.
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That was um he was played by the same chap that played eel red yeah so you know
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the the the chap that got killed by the giant spider on the bridge yeah yeah
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so we'll get because he was like he's a,
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he was a rugby player so he was like six foot seven or something really it was really big,
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so we're like you know it was getting straight in the armor you're
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going to be the dread knight right oh he
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was a real trooper because not only did he have to wear full armor
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but he also had to wear a pbc is a pbc
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rubber mask yeah yeah silicon yeah silicon
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rubber mask it was very constricting and
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he had to do a lot of stage combat for a
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long time he did amazing yeah like we don't really
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have it's funny because obviously a lot of films in
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in that era used kind of rubbery costumes and stuff
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but all our stuff is just because we
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have it already because we've done medieval stuff it's all just
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like real we're not we're not able to afford the great looking movie stuff we
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just have to get the real that weighs a lot more so the guys are like ah no
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no no probably for arlo the torturer he's just wearing a towel but for the rest yeah yeah yeah so.
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He's got, um, yeah, he's a travel light. That's us.
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But this is when, when I, when I saw this and I thought, well,
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how come anyone hasn't reviewed this or seen this?
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And it was just like some sort of miracle and almost all of a sudden I'm,
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I'm transported to being like a four year old.
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That's exactly what we wanted to achieve. was that feeling you know of authentic nostalgia,
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not perverted or mutilated for some stupid reason but just from the art,
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and I you know I wanted to feel the same thing making the film as you described
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watching it you know the way it took you back made four glance by films,
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yeah totally and the funny thing is that Meg's,
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younger than me but you're a fan of those films as well yeah no absolutely like
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i see kernan is amazing i mean they're all i mean even desktop i love it it's
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just outrageous it's just so much.
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Oh the slayer yes you see slayers yeah you like chrome,
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I love Kroll. Kroll's one of my favorites, actually. Kroll's my favorite movie.
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That's why when I saw The Spider, it reminded me of The Widow of the Web.
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The Widow of the Web? Oh, my gosh. I'm going to have to re-watch that really
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soon now because I haven't watched that in years, and I love it.
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I watch that all the time growing up, actually. It's so good. Yeah.
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Again, great, great score. James Horner, whose music found its way into a whole
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bunch of sword and sorcery films. I don't know, unbeknownst to him.
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Yes. whether or not, because Roger Corman always got good value out of everything that he paid for.
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I mean, if you watch all of those movies, I believe most of them were filmed in Argentina.
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So the castle set is literally the same castle, like in The Swordsman and the
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Sorceress, you know, the one with David Carradine, which is essentially Yojimbo
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made as a sword and sorcery. Yes.
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And Maria Sokis, who Jim Wynorski told me was like such a massive chain smoke.
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She was like seven packs a day.
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Wow you know seven to ten packs a day she was just like one after the other
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after the other after the other oh she's in a ton of those movies maria she's
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in wizards of the lost kingdom as well.
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Ironically she's like she becomes a spider in that well she yeah she's an enchantress
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who becomes a spider in that one that's the one with um ironically tom christopher
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plays the bad guy You know, Tom Christopher from Buck Rogers.
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He was Hawking Buck Rogers. Yeah.
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He's, he's the bad guy in that one. And he's also the bad guy in Deathstalker 3.
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Just took the three he's the bad guy on that he wears if you watch
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that movie desktop three he wears this tunic that is
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very similar to that dude in futurama who's who wears that tunic and he doesn't
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wear pants yeah like literally if tom christopher bent over at any time and
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he was pendulous he'd look like a grandfather clock you'd see everything yeah
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he's wearing such a short tunic but he's a great he's a great scenery chewing.
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Villain it's funny when it came to villains we wanted to get a good theater actor you know,
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a thespian friend of ours he's richard
27:45
moll meets ripton yeah yeah i
27:49
worked with richard moll as a as a um you know before he passed he was a wonderful
27:55
man and but like i kind of inspired by the death stalker one jack but johnson
28:03
hansler was the actor that worked with us and,
28:06
he just brings such earnestness and pathos to every
28:09
role he'll play no matter what you dress him
28:12
in what you surround him in you know it could have been the christmas muppets
28:15
around him he would still be this exact same there's the
28:19
next one i think you need to do a version of this with
28:22
like puppets that'd be fantastic yeah yeah be like meet the fables meets death
28:28
stalker he was just great with these monologues and speeches and um and just
28:33
all the time when he would call our hero slave and i think folks would elongate
28:40
that word the more the film went on.
28:43
He actually reminded me david warner in time bandits.
28:50
I've got to ask, what was the bit where he was dabbing your face with like wine or whatever, cat peeve?
28:58
Yeah, that was his magic sauce.
29:01
And that was something he decided, but it was me that decided he should have
29:06
a weird, lovely octopus tongue for me. Oh yeah.
29:11
We had the nasty prop and we were like, let's just use it.
29:15
Yeah, I don't think he was too thrilled about that. He's probably something
29:17
like that very much. And he thought I was joking with the tongue thing that
29:21
he was doing, a lot of tongue whipping.
29:23
That ended up, you know, yeah. See, it's never a joke. It won't appear in the
29:27
showreel, but the rest of the film, right? Yeah. Yeah.
29:31
I love how they have that sequence where they are hypnotized and they have to
29:36
break through their own desires and stuff.
29:41
I love Chris Black's face during his whole hypnotized sequence.
29:45
He looks like he's been lobotomized.
29:50
He's so still and he's just like, and this woman's beautifully caressing his moobs.
29:56
And, and he's just, and yeah, it's, yeah, truly like, I need to go to that place
30:04
when I'm trying to concentrate.
30:05
It's yeah, he was, he was really, he was right there.
30:10
It's tremendous. It's very awesome. Has a great line. Not today. Okay.
30:17
Yeah. Not today. It's a great, it's, you know, this movie makes me so happy.
30:23
You make me so happy. I'm so happy that you made it I'm so happy you're making
30:27
more I'm so happy that's when I think about it that's all I can say I'm so happy
30:32
I'm so happy this morning thank you thank you I'm so happy you exist I keep
30:37
you I hope you keep making,
30:39
many many many many many many many many many more films,
30:47
that's the plan unless I get kidnapped and eaten but that's the plan that's
30:53
different There's a movie in them.
30:55
And we, we, we, we, Scottish film director gets kidnapped and eaten.
31:00
So it's a tough time here. You know, okay. These things can happen.
31:04
Yeah. Do they eat many people?
31:08
No.
31:10
I mean, we're making a few films a year now, which is good.
31:16
They tend to be mostly horror movies, which also tend to be anachronistic,
31:23
as if they were producing.
31:26
One studio we brought back from the past, an actual one with the family of the
31:32
original owners, was Amicus productions, the one-time rival of Hammer.
31:38
And so we've recently filmed a film with them. So we've got the Strand going
31:41
on where we're doing these kind of like retro gothic horror films and also like
31:48
a sword and sword or fantasy.
31:51
And it's always been a dream of ours to try and make a trilogy with the sword and sorcerer.
31:59
It was always one of those things, you know, the end of that movie the sword
32:02
and the sorcerer um it's like he'll be
32:05
back for more adventures and he's like great and it's
32:08
like ah i i knew i knew i you
32:11
i know this film was dedicated to albert puna i knew albert a
32:14
little bit in the last years of his life yeah what
32:19
a debut film it was like the citizen you know i mean dude makes
32:22
like the citizen cane of sword and sorcery films first
32:25
time out in the game i mean it's it's it's
32:27
still a feat yeah massive and i'm
32:31
i'm i'm glad he did it if if if
32:34
for no other reason than to inspire you to do this thank you
32:39
thank you well you know we're we're
32:42
working our asses off on it but yeah the
32:45
the next one will be the slave and the general yeah and it's equally outrageous
32:53
uh to the the the first film and many it's probably more outrageous yeah it's
33:00
the first one but more which is what you want to say that's right yeah,
33:04
there were moments often moments where.
33:07
Folks would say you can't possibly do that and i was like yeah hold my beer and i'll show you,
33:17
i'll show you no don't tell me no telling me no is like waving a red flag at a ball toro toro.
33:24
You know folks were fans of the man to get more the man this time as well oh
33:29
of course we're all fans are hurt. Oh, fantastic.
33:32
Pleasurer. But you know, I can confirm that Arlo against the odds.
33:37
Arlo, the torturer, will return.
33:40
Is Michael, is Richard back in this? God bless him if he is.
33:44
Yes, I can confirm he is back as well. You'll have to bring him on the next show.
33:50
You'll have to bring him on when we do the next one, when we do the general.
33:54
For sure. Actually, I get a dramatic scene with Richard Payne,
33:58
which well, will be in the next one.
33:59
Yes. Tell him to just keep doing it the way he's doing it.
34:04
Oh, he is. Yeah, we filmed some stuff with him when he was here because he's
34:09
from the States and it was just brilliant.
34:12
I mean, he was able to get straight into the character and we had more for him
34:17
to do this time as well and it was just really great.
34:21
And as for Arlo, this time he has his whole family helping him to get revenge.
34:26
So he has three very...
34:30
Even more and more romantic, neuromantic sons, which are good.
34:35
They've got a nice neuromantic vibe and he also has his father as well.
34:39
Something to look forward to. Yeah, so there's, it's just utterly outrageous.
34:44
It's probably far too long, but it is a celebration of excess and horror and trauma.
34:51
So, yeah, it should be good. Yeah, and it was to film it as well.
34:55
Words of John Travolta as of Sparky the dog, you can never have too much sugar.
35:01
Beautiful powerful people thank you for being on the show before
35:04
we run out of time would you please tell our listeners where they
35:07
can get a hold of all the wonderful stuff you make thank you yes we're not like
35:13
normal studios our films aren't available we don't put them on normal video
35:17
on demand services at the moment we like to be a bit stranger about it folks
35:23
can actually get our movies on,
35:25
we have a shop called Hex Studios Shop that they can type in Google if they
35:30
want a physical, like a Blu-ray, but if they want download,
35:34
the best place is to actually visit our Patreon store, which is called the British Horror Studio,
35:42
which despite the name, includes our Sword and Sorcery films.
35:45
And it's also free to join that Patreon, and if they do, they get to see articles of me.
35:52
Bitching about all the fake spray tan that i've
35:55
got to wear as arlo that lasts for weeks and
35:59
weeks which in scotland really stands out
36:02
you know yeah yeah a man
36:04
with a tan i was like are you still wearing this the spray tan yeah i know like
36:13
it still looks like you have to imagine going into a working man's scottish
36:17
pub with a spray tan on it's not easy it's not easy it would it It would turn heads.
36:23
I know that before we, before we run out of time, beautiful,
36:27
powerful people. Thank you for being on the show and thank you for making this movie.
36:31
That's really kind of you. We never normally hear that. So that's really nice. Yeah.
36:36
And thank you for having us. Yes. Thank you so much. Thank you for your wonderful
36:39
review. Yes. We're very grateful. Everyone's very grateful.
36:42
It really, really meant a lot to everyone. Thank you so much.
36:46
Yeah. Yes, Arlo the Torturer and the Sexy Sorceress, Naaman, Laurie Brewster,
36:56
Megan Tremethic, beautiful, powerful people, what a beautiful,
37:00
powerful film this is, The Slave and the Sorcerer, there's more to come,
37:05
I can't wait, I can't wait, hurry, hurry, hurry.
37:08
It's christmas is around the corner but the
37:12
new year is filled with delight for
37:15
me already because there's more of this on its
37:18
way from british horror studios
37:22
laurie brewster and the real life
37:25
of frisetta girl incarnate in megan
37:29
tromethic beautiful powerful people beautiful powerful
37:33
film get down to the links in the description and
37:36
get your hands all over the
37:39
slave and the sorcerer i love it there's more coming get to the links in the
37:46
description and as always my little eugenites thank you for listening to us
37:53
on spotify or wherever you choose to listen to your favorite Podcasts.
37:57
I'm Kent Hill and until next time you've been listening to Cinema Zero Game.