Latest / Cinema Yūgen / Behind the Lens with Mark Savage: A Deep Dive into '12 to Midnight'

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Behind the Lens with Mark Savage: A Deep Dive into '12 to Midnight' · Cinema Yūgen

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G'day, that's right, it's that time again, time for Cinema Yuge!
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Music.
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Yes Yuge Nights, the 12 to Midnight Tapes
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Part 2 continues with the man behind
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the camera also co-wrote the screenplay
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the mighty mark macho man
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savage australian-born filmmaker sold
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his first feature marauders to the international market at age 24 he has maintained
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a non-stop production pace in australia and the u.s ever since on projects as
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diverse from the action comedy sensitive new age killer a documentary on action
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superstar jackie chan and beyond Mr. Nice Guy.
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The action thriller, Narrow Gauge, Trail of Passion, The Sentimental Assassin, Defenseless.
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Pond Scum, Stress to Kill, Purgatory Road, and Painkiller Savage has recently
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completed principal photography and action thriller Bring Him Back Dead.
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For producers Jeff Miller, Mark L. Lester,
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the film stars Daniel Baldwin, Gary Daniels, louis
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mandalore next up he is the advocate for
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an la based turik films and two
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untitled action thrillers more
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bronzeploitation but the film out right now 12 to midnight these are the 12
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12 to midnight tapes and this is the mighty macho man mark kevin savage welcome to Cinemayugin, mate.
1:52
Great to be at Cinemayugin. And...
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Good to be in Queensland with you. Yeah.
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Since I'm from Victoria myself, so I basically.
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Yeah. It's not often I hear a familiar accent. Usually they're all.
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Yes. I can't say they're not familiar, but I mean. Yeah.
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It's nice. It's nice to talk to an Australian, albeit, you know.
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I feel the same way. It's great. It's great to talk to an Australian too.
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No, I always get that when I talk to Australian people.
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It's nice to hear the taste of home.
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It's like veggie toast and wheat picks and bananas or whatever your preference may be.
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Mark, it's great to have you, mate. Love the movie.
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12 to midnight. I'm a bit of a bronzeploitation aficionado, so it's always exciting to see a new one.
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And I very nearly got offered twice to write one, So the universe is trying
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to sell me something. Maybe third time's the charm. We'll wait and see.
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Yeah, well, this is the second one that I wrote. Okay, cool.
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Because there's another one with
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Jeff Miller that was going to be set in Hungary. We still won't make it.
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So that's called Dig Two Graves. Okay.
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And that's also another one where Bronzy is a cop in that one.
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In fact, he's a cop from the UK is a story that goes back to Hungary and gets
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involved in a whole lot of very sort of nasty, you know, a lot of nasty nonsense.
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But, yeah, it's definitely another Bronsploitation movie that I hope at some point we will do.
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Awesome. Sounds cool. I'm on board. I'm there. Take all my money.
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But before we get into all the Bronsploitation, goodness, I'm just looking back
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over your credits and see you did a lot of cinematography for like DVD extras,
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a lot of movies I really love, like The Blob.
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Alligator, Big Trouble in China, JFK.
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Man, what was it like to sit in the room with like Oliver Stone or Nicolas Cage
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or have you got Nicolas Cage?
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Yeah, actually pretty – it was funny because –,
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I mean, I know they're bad to give, like, an interview, so it's not like an
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interview. Yeah, no, it was very interesting because it wasn't like a press
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junket where you're at a studio. I'm at their house.
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Yeah, yeah. So I'm going to run and I'm going in and, you know,
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sometimes, you know, their assistant or their wife is there.
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And in the case of Nick Cage, like, he's a very lovely wife and a newborn baby were there as well.
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So, you know, it was wonderful, actually.
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Nick Cage was wonderful. and then all of that stone was i've been
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there several times to uh because i interviewed
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him um did an interview i'm related to natural born
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killers jfk and also oh
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alexander i did another one recently so yeah
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i mean i have to kind of think about it later on i think back
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oh my god i was just at oliver stone's house yeah and
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it is kind of weird because i've always i mean i i love
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his movies but at the same time i can't i
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can't be like there as the complete fanboy you
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know because i'm shooting it and and
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and you know you know sort of setting it up and
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everything and initially initially i was kind of like self-conscious
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when i first started doing those because i was thinking are they
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are they really looking at the way i'm i'm lighting it and
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more like you know what i mean because but i've been doing it for a long time now going
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way back to a company called subversive cinema that i
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went for and so it's almost like
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a it's almost like a parallel career that i
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have like i make i make features i also do
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commercials as well so like the features and commercials and
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then and corporates and then also do the
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interviews and yeah i've met a lot of interesting people.
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Like yeah like cage and even australians like james
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juan and leewannell yeah and and
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cage was and yes i said cage was great and interviewed him
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for bringing out the dead right yeah he
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was very complimentary very humble guy and what i also loved
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to see that he also had posters in the
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background of films like creature from the black lagoon and
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all that so he's a real cinephile as well so yeah yeah that's like talk to him
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about that you know yeah that's that's actually one of the things that that
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really interests me about people in the business is you've got to remember that
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they are also fans and movie nerds.
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Yeah. And I love to get into, you know, when the conversation drifts maybe away
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from the subject a little bit and you mention a movie, oh, geez, yeah, I love that movie.
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Yeah. And then all of a sudden it's not, okay, it's Nicolas Cage and it's you
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and you're there to do a job.
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You guys just talk about movies that they love, you know what I mean?
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Well, I did that a little bit with Stone, I mean, at one point with Stone,
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I just, I mean, it was more like when you were packing up. I actually just,
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as an aside, said to him, I think that your film Talk Radio,
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one of the greatest films that were paid, and he actually was like, whoa.
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And he said, well, you know what? I wish they would do a special edition of that.
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Yeah, yeah, yeah. The film itself was a box office flop.
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Right. I said, well, you know, I would do everything in my power to try and do that.
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And then also, well, another person you do recently was also,
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again, we had a bit of a conversation with Mike Flanagan, where,
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you know, at his house for a couple of days, he's got a theatreette,
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so we recorded commentaries there and also did interviews with him, and he was the same.
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Mike Flanagan's just a big fan, like he takes me and goes, here's my special
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edition Stephen King books, you know, and then he's got a typewriter for Misery.
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Oh, sweet ass, really?
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And he's just like a fan, you know, so... He's good, I'm very hopeful that he's
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got his hands on the The Dark Tower.
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Yes, yeah, because he'd be the right person. I mean, because that other film
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they made of the gunslinger was just atrocious.
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What an atrocious. Terrible, terrible. Oh, my goodness.
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He's the right kind of, you know, it's the kind of person who should be,
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the person who loves the books and understands the books, I think that is a good thing.
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I don't really believe in this idea, oh, let's have someone who's got some objectivity.
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The thing is you don't want someone who doesn't have any understanding of why
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the books work and that world, I think it is important to have someone who is
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in that world and someone like Flanagan,
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he's smart enough that he's just not making it as a fan film.
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He's making it as something that, because actually I really liked his version
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of The Sample to The Shining, his Doctor The Sleep version. Yes.
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And I told him so too, you know.
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Do you like the longer version or do you like his theatrical?
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At all actually i actually i i guess i like the,
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Have I even watched the longer version? You know what? I don't think I've even
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watched the longer version, actually.
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I personally like the longer version. Oh, okay. Yeah, well, I should look at
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it because I've got the 4K, so the thing is I should look at it.
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But, yeah, like, I really like what he did.
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I mean, I think he's a very good filmmaker. I mean, I imagine he's going way
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back to Absentia, you know, his first one.
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And then we did a special edition recently about his film Hush,
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you know which is really you know
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very interesting film conceptually so yeah no it is
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very interesting meeting people who i who i
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really admire myself and also it's
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interesting even like some of the older even even like meeting people even like
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meeting people in my life like you know i worked for david lynch for a while
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too for his company distributing inland empire and you know and so directly
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with him and same with herzog i worked what's he like what's he like in real world Yeah, actually.
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Is he like he is? Is he comes across in the clips or is he? Yeah,
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he's pretty much, I mean, probably, you know, I mean, he's the main thing with
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Lynch is that I think that, you know, there's always a sense that,
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which you probably don't see in the clips.
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I mean, I think he's got a lot going on in his life. So the thing is,
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you know, he's not always an easy person to sit down for a long time, you know what I mean?
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Because he's got stuff going on.
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But at the same time, you know, it was interesting because it was more like
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my involvement was actually doing a theatrical relief with a friend of mine,
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Norm Hill, was actually did the theatrical on Inland Empire.
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And so, you know, did the whole thing of blowing it up because,
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of course, that was shot on like just basically quite low res, didn't you, Cameron?
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So, of course, when you blow it up the 35, it sort of takes on a textural,
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there's an interesting textural change.
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And then you tell a cine the 35 so you
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get another video release out of it so it had an interesting effect and
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that then led to the release also then us doing the theatricals
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on uh herzog's why blue yonder as well you know what i mean so just so it was
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kind of like what's what's what's verna like in real life yeah i can't say i
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couldn't say like i ever completely connected with him i mean i don't think
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i could ever say any of these people i became like i would good friends.
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I interviewed you keys burn before he died. And he said, Oh yeah.
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He said of Werner Herzog. Cause he did wear the green ant stream.
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He said, he's the most serious man I've ever met. And his brother,
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his brother, who was the producer is, is.
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Even more serious if that's possible. Yeah, I would say that's accurate.
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I mean, at one point we were screening Why Blue Yonder in at the Castro in San
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Francisco and he and myself and Norm Hill were in a car driving around looking
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for parking, you know, to go to the screening.
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And it was kind of funny that he cracked a few jokes and every now and then,
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you know, I would, I mean, of course, cracks a few jokes in his dry way.
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You know, he's got a very dry, if he's going to tell a joke,
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He's never going to give you a wink.
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He's always going to be someone who is very serious, but at the same time,
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he's got a really fascinating intelligence.
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I love all of his films. One of my favourite films is one that's not often talked
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about. It's one of the documentaries.
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And it's, I'm not sure, I can't remember exactly if it's 1976.
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I want to say 1976. I might be wrong. But it's the 1976 auctioneering auctioneering,
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championships and it's it's in.
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Amish country and it's those dudes that sell cows
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you know one body you know and
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it's the championships of that and it's fascinating
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you know yeah I I can't think
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of the name of it but I really like that too I think that's
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amazing he's I like it's called it's called how much
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wood can a wood chuck chuck that's that oh that's right he's very
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good at picking yeah he's very good at picking fascinating subjects
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you know well also he's bringing is well he's
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always in he's always injecting himself into that and
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that's part of the charm of his documentaries because you know
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sometimes there's a there's a guy over here uh he
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died several years ago who made like um kind of california-based documentaries
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called hulhauser very interesting guy he's almost
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kind of like it's interesting watching hulhauser's little almost
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little i would call them little visual poems on
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california and then the way he brings his personality
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to it is in a way very similar even though Herzog's perspective
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is quite different but it's that same thing
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of injecting yourself into the documentary so you become part of
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it as well but also because you become part of it you can
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extract such interesting aspects of other
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people from it because you're also exposing.
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Yourself I think that's interesting it's almost like
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sharing a secret with someone then they're not likely to
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share a secret with you so I like yeah no
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wonderful wonderful stuff anyway we better
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talk about the the movie in question 12 to midnight which
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i absolutely love bronze exploitation more power to
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it it's it's just absolutely and as i was saying to jeff literally a few days
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ago it's it's just uncanny and and because he asked me how i came to know all
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this and whatever else and i said i simply read one article that said that there
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was this double ganger for Charles Bronson.
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And they put a picture side by side and it was just uncanny.
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And then, of course, I wrote some scripts with Rene Perez, who made some films with...
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With Bronson as well. I know of René. I've never met him. I know of him through Jeff.
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Yeah. But it's uncanny, and he just fits his gestures, his mannerisms.
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Kudos to yourself and Joe Ketter for the screen.
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But just getting that right because Bronson, like Bronze, he's at his best when he doesn't say much.
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But when he does speak it's interesting yeah i mean that was the interesting
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challenge because you know english is his like i think it's like his third language
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or something like that so.
15:20
One thing that because basically joe and jeff
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wrote the screenplay first and then myself and
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tom parnell came in and then did like a rewrite on that
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and one thing that i was kind of
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thought would be interesting to put in there was something
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that in a way is kind of like a little bit of a laugh at himself where he says
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I get that a lot you know when talking about his appearance yes that was to
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me to have that line in there because um I said to Tom while we're writing it
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I said I think he should say the guy should say you know you look familiar because
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otherwise because you know why.
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He's kind of because otherwise I sort of like the idea that
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he says I get a little lot so it's a little wink at the audience too
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seriously and definitely he would
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get a lot because the funny him was when i first
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met him i thought that you know sometimes you
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think that someone when you're close to him i got to look quite different when
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you're really close right so i was thinking i wonder what
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he's going to be when i'm right up next to him right it was
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that when i was right up next to him he just looked more than ever like bronson
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right yeah and i mean i'm this far away from him and there was people who were
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saying when we're on the location they were saying hello to him and I really
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love your movies and he'll just play along and go, thank you, thank you.
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And so they're actually saying to him, I love your Charles Bronson movies and
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it's just hilarious when Robert would just actually just play.
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He goes, thank you, thank you.
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And because he is so, so similar that it's quite uncanny.
16:54
But as you said, it still was better though because Inglis is his third
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language so the thing is which is incredibly impressive you know so ice that's
17:05
why we kind of thought he's a very very good like gronson in the same way incredibly
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good physical actor and he's very good what i would just say this is the this
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is the main point in this scene,
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you know he's very good at giving that look he's very good
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at also he he's got an awareness of course self-awareness of course that he
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looks like bronzy gronson right yeah yeah um but at the same time he he takes
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sort of like a pride in himself in his own in in his own persona so that,
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it's it's it's got an interesting kind of double life to
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him and that at one point he's doing a version
17:44
of bronson but at the same time he's also doing a hungarian
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version of of robert of robert bronzy you know so there's an interesting dynamic
17:53
there and he it was very good i really liked him like he was very very good
17:58
to work with friendly guy he also works out all the time too so wow yeah He
18:03
looks it. He looks it. We're the whole same.
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Yeah, we stayed in a little house in the countryside together.
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It was like I was on the top floor and then Jeff was the next floor and Bronzy
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was in the floor in the one next to the kitchen.
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Right. And he was always in there doing his elastics.
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He uses his stuff. I mean, I work out.
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He works out like all the time. You know, he's basically working out and also
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a very serious guy And also it was really good because I'd give him,
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he'd ask me for, is that right?
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You know, is that the way to say that? Yeah, he was always interested to learn,
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very humble, in the same way that Tito Ortiz, who's on the movie as well,
18:43
he was, who's a well-known, very well-known, you know, mixed martial artist. Yes.
18:48
And he's a badass martial artist and he's got this reputation as being like
18:52
an absolute, like a monster, you know what I mean?
18:54
Like, you know, as a wrestler, as a wrestler and martial artist.
18:57
But on the movie just like Grunty both guys were kind of like,
19:01
Let us know, you know, all of them were very open to being directed and let
19:06
me know if you need me to do this.
19:08
None of them had the attitude of, well, you know, you know who I am and I'll do, you know.
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It's just they were humble and very, very collaborative and that's one of the
19:18
best things when you're directing, you know.
19:20
All you've got to do is give them a little bit of direction and just be,
19:23
then all you're really doing to me as a director with people like that is you're
19:27
just kind of keeping them tonally in the same spot so that the film has a consistency.
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You know, that's, to me, really the main thing with casting.
19:36
And, of course, with this, it's casting sort of backwards because,
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of course, this is a bronzy movie.
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So at the same time, you want to make sure that the role's appropriate for him
19:44
because that's the whole point.
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If you do a bronzy movie, you've got to do something that's subject-wise along
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the lines of why people like Bronson don't really want to put him in a romantic
19:55
comedy because the audience,
19:58
because people are not just going to watch, oh, he looks like Bronson and he's in a romantic comedy.
20:03
People don't want that. You've got to understand that his market is action and
20:08
it's fine if you've got to get worse.
20:10
12th Minute is like horror-action hybrid or crime-action hybrid,
20:15
which is fine because that's going more to the supernatural aspect of being werewolves.
20:20
But at the same time, it's still in the belfry. it's
20:23
still in the same category of movies like
20:27
10 to midnight it opens like a death wish because
20:30
that's why i really wanted to have that opening in the um because
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that was originally not in the opening in the original script
20:36
the scene in the 7-11 was not at the
20:38
beginning but i thought no gotta have that at
20:41
the beginning because i want to establish that he's like a he's like a almost
20:45
like a vigilante death wish kind of brunson i think that was important you know
20:51
to have that action scene at the beginning and then from that you've established
20:54
him so you've got your audience and then to me you can build up the supernatural
20:58
but i think i didn't want to build the supernatural.
21:01
Up to action i wanted to start with action and
21:05
then we then we start threading in the supernatural as if once you've once you've
21:10
re-established as he's more like that the 10 to midnight death wish broadson
21:15
yeah no no it is it is very important very very similar to along the lines of
21:20
what Tarantino did from Dusk Till Dawn.
21:23
Like start off as a crime film and then it leads into the film.
21:29
Yeah. And this one works well in a similar fashion because the werewolf story
21:35
bleeds in and it's because if you, you know,
21:38
if you had a lead, I think, with werewolves or some type of werewolfian or like
21:43
a suggestion at the start and they go, okay, what is it, a werewolf movie or a crime movie?
21:49
But because you start in a simple price, well this is the kind of film it's
21:53
a bronzy film, a Bronson film and the.
21:57
You know just because i would well you
22:00
know because i was saying about it myself because i mean i'm a
22:03
fan of those movies so the thing is i at
22:05
least want to make sure that it would be something that if
22:08
i was watching it i'm i i would be satisfied you
22:11
know i'd be satisfied with it so i know that i would
22:14
be going where's the you know where's the kind of
22:17
action bronzy because the action bronson because
22:20
in a way bronson's most known for those films you
22:23
know even though i mean and i mean actually even though like calling my
22:26
favorite bronson film of all time is actually hard times
22:30
the walter hill movie yes i mean that's
22:32
my actual favorite bronson film but my absolute most.
22:36
Fun bronson films for me is like death wish three yes
22:39
and and then and
22:42
then 10 to midnight and you know like those are
22:45
my i think the most fun ones i mean definitely three is so
22:48
ridiculous but it's the most fun movie because he's
22:51
like literally like almost killing just almost a
22:54
hundred people in that movie it's it's it's just ludicrous but
22:57
michael winner michael winner really had an ability to discount
23:01
like to throw all the throw the whole kitchen sink into
23:03
the movie and so i kind of like that really
23:06
sort of over the top michael winner stuff when when winner
23:10
when winner is and that was a hilarious thing about michael winner
23:13
he sort of got this kind of toffee english gentleman persona but he's making
23:17
pure exploitation movies at the same time whereas also having this kind of like
23:22
slightly kind of like upper crust kind of like way of speaking and and and sort
23:26
of like persona yeah most of the films that he did are very very.
23:32
Exploitive and you know in the best way kind
23:34
of movies and then he's got a few oddball films too also like um you know one
23:38
time time and then um and nightcomers you know films like that but at the same
23:44
time it's like you know the mechanic you know he's like you know the mechanic
23:48
and like and crazy films like you know the screen for help,
23:53
You know, from Palace Explosive video releases in Australia.
24:01
So that's an interesting thing of it, doing anything with Bronson or Bronzy.
24:06
Everyone who's there is familiar with the Canon Bronzy films,
24:11
all the Bronzy films that Canon released.
24:14
And so that's kind of films in a way that I think if Canon, it would be an ideal
24:18
Canon release. I think Canon would still have released something like 12 to
24:22
Midnight because they would have went, oh, okay, yeah, we've still got the Bronson
24:26
with his big gun and all that kind of business.
24:30
I love how you put the gun in it to really put the excellent mission point on
24:35
the cherry on the sun, which was great, because where would Bronson be without his big gun?
24:42
And also, you know, there's a connection too in the fact that this is a werewolf
24:47
movie and you're a mild man of Australian-speaking director,
24:51
but making exploitation,
24:54
exploitation movies, you sort of joined the ranks with Philip Mora with his howling.
24:59
Oh, yeah, I didn't think of that. Yeah, you're right, because it's the first,
25:02
yeah, it's definitely the first werewolf film I made. I mean,
25:05
I made a horror film called Purgatory Road, which is like one of my favourite
25:09
films I've made. But, yeah, you're right.
25:12
I'm in good company with Philip Mora with his howling singles.
25:16
Yeah, he's a lovely film.
25:18
Yeah. Howling 3. It's crazy. Yeah, like, yeah.
25:21
Yeah, you talk to Philippe and he's the most un-Howling 3 guy. He's really quiet.
25:27
Like, he has a bit of a snigger here and there, but he's not overt.
25:31
You know, he's not an over-the-top guy. But Howling 3 is the most,
25:35
like, over-the-top fantastic guy.
25:38
Werewolf insanity movie i mean it's still
25:41
got one of the great lines my stepfather tried to rape
25:44
me and he's a good um well
25:48
it's funny because step werewolves raping is
25:51
also like a um something that also is in
25:54
the books of one of my favorite writers who i'd love to make some of his
25:57
werewolf books into movies which is guyan smith yeah and
26:01
who's you know who did the crabs books in the uk and
26:03
also werewolf by moonlight which is his favorite book
26:06
but his book son of the werewolf is also about a woman gets raped
26:09
by a werewolf and it has a son who later becomes who
26:13
later has inherited the werewolf gene yeah i
26:16
like it oddly enough i wrote a script i wrote a spec that's similar to that
26:21
all right interesting if you're ever interested to have a look i mean it was
26:25
it was just it was just to write it just to write it you know you know it wasn't
26:30
for anybody but i always wanted What a kind of werewolf movie,
26:35
and that was my – yeah, oddly enough.
26:38
I mean, not exactly the same as that, but there was – yeah, there's shades of it in there.
26:43
But, yeah, but look, it's a fantastic – it's a fantastic movie.
26:47
I'm going to put the links in the description this month when we're doing the
26:50
12 to midnight tapes. We've talked with Jeff Miller.
26:54
We've had the marvellous Mark Savage, and we're hoping, Mark,
26:58
with fingers crossed, that before the month is done, we're going to have the man himself.
27:02
We're going to have Robert Bronzy. Oh, that would be fantastic.
27:05
I have actually interviewed – technically, I've actually interviewed Robert
27:08
before for another podcast, but he wasn't confident enough to do an audio,
27:12
so we sent him questions and he typed the answers.
27:16
But fingers crossed we're going to have the man himself alive and uncut.
27:22
On the show, to cap it all off, as I said to Jeff, we've had previously on the
27:27
show, but for another film, we've had the marvellous Sadie Katz.
27:32
Sadie's fantastic. Yeah, yeah, I love work. And she's in, as I said to Jeff,
27:36
my favourite scene in the movie, because I'm a writer, I like drama scenes or
27:40
dialogue scenes, so I love the scene that begins with her coming to the motel,
27:45
with that great line, don't worry, I haven't come here.
27:48
Yeah. and it's just a really great scene and yeah, you can see that Robert works
27:56
out when he's sitting there with his vest on you look at the dude's shoulders
27:59
and you go how old is this guy?
28:02
Look at him he's insane or as the kids say today, he's a unit a unit.
28:11
I haven't heard of that expression, sorry, a unit means that you're actually
28:15
like a ripped, you know, you built Like you're ripped, right. Interesting.
28:20
That's what I hear the young fellas saying out. So they go, you're a unit,
28:23
mate. You're ripped. Oh, I like that. He's a unit.
28:26
I can only hope myself to be a unit at some point. Yeah. Yeah.
28:31
I'll have to get out of the dumbbells.
28:35
Listen, Mark, it's been fantastic talking to you, mate.
28:38
We're going to put the links in the description to check out 12 to Midnight,
28:42
the latest in the broadsploitation. and as Mark, as you've heard Mark say,
28:47
more, hopefully more bronze exploitation on the way, more power to him.
28:52
Look, while he can and while there's all sorts of great,
28:58
stories that if Charles Bronson had lived, you know, he may well have ended
29:05
up doing vampire movies and werewolf movies and good as a knows what else,
29:10
take on the devil, you know.
29:12
I mean, I think, well, in a way when you're thinking about some of these movies,
29:15
they're almost veering towards something more supernatural like People Let Men
29:18
Do and even film like, even Ten to Midnight,
29:22
it's almost, well, Ten to Midnight is almost like a slasher and a crime movie,
29:28
so he's kind of like definitely moving in that sort of like definitely moving
29:31
in that direction. So, yeah, I agree with you.
29:33
I don't think he would have been against doing something that had a more of
29:36
a supernatural. Well, actually, Kinchitay.
29:38
Kinchitay. Yes, the beaten subjects.
29:41
Kinchitay is definitely a film that actually has like a much kind of like darker
29:44
sort of like edge to it. Yeah.
29:47
I really thank you, Kent, for your interest in 12 to Midnight.
29:50
Yeah. I really hope that you wanted to discuss it with me and great that you
29:55
talked to Jeff and I really hope you're able to talk too.
29:58
Yeah, well, we've got it on the schedule, you know, because he has a day off
30:03
and I don't want to take too much of the fella's day off.
30:06
So, you know, if he can spare us a little bit of time, that'll be fantastic
30:10
to talk about a wonderful film directed by the wonderful Mark Savage.
30:14
Mark, I love your work. It's been lovely to take you, mate, and I look forward
30:19
to everything you've got coming up.
30:22
Thank you, Ken, and I wish you luck. with your own we
30:25
should like with your own films too i'm gonna start getting stuck into watching those
30:28
as well too yeah thanks bud good on you okay yes
30:32
the mighty mark savage the uh man behind 12 to midnight by looking through the
30:39
lens at 12 to midnight is uh the latest and greatest sprong exploitation bitch
30:44
follow the links in the description and throw mark's information in there.
30:50
Check him out. Mark has a lot of cool things coming.
30:53
Mighty Mark Savage 12 to Midnight Bronzeploitation.
30:58
We'll be looking forward to hopefully getting the Mighty Robert Bronzey on the show next year.
31:04
But until then, follow the links in the description to enjoy your Bronzeploitation.
31:10
And as always, my little Eugenites, thank you for listening to us on Spotify
31:16
or wherever you choose to listen to your favorite podcast I'm Ken Hill,
31:20
and until next time, you've been listening to Cinema Yoga.
31:28
Music.