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"Inside the Mind of Bill Oberst Jr.: From Stage to Screen" · Cinema Yūgen

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G'day. That's right, it's that time again. Time for Cinema Yugen.
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Yes, welcome back. Cinema Yugen, new episode.
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Bill Oberst Jr., the American stage, film and television actor of German descent,
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Then known for his work in horror and cult films, his career includes projects
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for film, television, one-man show, theatre performances.
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He first received recognition for his portrayal of
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icon and humorist Louis Grizzard as he performed in theatrical tours across
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the southern United States and played the Facebook stalker in the 2011 online
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interactive video film and Facebook app Take This Lollipop and its 2020 sequel.
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Sequel we are proud to welcome the excellent most
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excellent and Emmy award-winning talent at home on his balcony with the sun
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setting the American flag flying in the breeze Bill on his rocking chair it
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couldn't be any more Norman Rockwell please welcome the Emmy award-winning legend himself.
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William, or Bill, Oberst, Jr., Will.
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Bill, welcome to Cinema Yugen.
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Thank you very much. So we're outdoors on my end. I'm going to try this.
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Every time I've tried it before, it's been like Leap Flour City.
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Right. But it's quiet now. It's in the afternoon here. Yeah.
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Let's see. Sounds we might hear. the lady
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across the street has a wonderful new baby and sometimes
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she'll come out with her and coo to her on the board which is
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nice the kid next door plays t-ball
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and sometime you'll hear that but you know those are summertime sounds
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and yeah they're good sounds to me sometimes i just can't i can't be indoors
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anymore you know i just need to be outside no like hey that's fine wherever
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you're comfortable we're happy to have you as comfortable as possible it looks
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very idyllic there with the American flag and the rocking chair and the golden light of afternoon.
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Well, that's the golden illusion of America, isn't it? It's very Norman Rockwell.
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I'll take Rockwell whenever I can get him at this point.
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Bill, I just noticed in looking through all of your stuff prior to the interview,
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we have a lot of crossover, mainly some former guests and collaborators.
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You worked on a film recently, Killcraft, with my former guests,
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Mark Savage, Jeff Miller, producer, and also a collaborator of mine,
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Michael Paré, who I've done a couple of films with.
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You see the poster up behind me there, Righteous Blood, a Western,
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and a vampire movie with Michael.
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So yeah i am
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a huge huge mark savage fan i have
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to tell you i would make he says this to me i think he means it i know i mean
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it if i could do nothing but make movies with mark savage i would do it but
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all the films we make can they'd be weird just artsy culty freaky films,
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and most people don't want to finance those kind of movies but that's what mark
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and i both love so Anytime I get a chance to work with them, I love it.
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He's a good bloke, Mark. He's a top bloke. He's an Aussie. He's a top Aussie bloke.
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But yeah, so I just noticed that and I thought, yeah, I've had Jeff on.
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I've had Mark on. I've had Michael on.
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Worked with Michael on a couple of films. So that was a nice bit of crossover.
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And going back into some of your own. Who's that?
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Michael Perret, do you mean? Yeah, Michael Perret. I just did another film with
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Michael Perret called Water's Edge.
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In fact, they gave me this lovely- Oh, there you go. Water's Edge.
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Yeah, see, it takes something away from every movie.
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Right. And I'll tell you, Michael Perret sells a punch or a gunshot better than
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anybody I've ever seen. He's good, isn't he? A-list, B-list.
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That guy can sell it. i've killed
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him and he's killed me and when he kills
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me it don't look as good as when i kill him because
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you would swear that a bullet's hitting that man he
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is so freaking good so good he's got
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he's got such a great intensity in his action and also in his silence when he
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just sort of stares back at you there's you know it's like they talk about those
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actors where you can even they're not saying anything like like robert de niro
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is probably a an often thrown out example where he just has those scenes where
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he's just staring at someone and you can see the wheels like.
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Turning like what he's thinking you know like the scene in goodfellas
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when he knows he's gonna whack morty and he's
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just staring at him and he's smoking that cigarette and it's all in the eyes
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you know and and not many directors mark does it and indie directors do it but
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not many directors big big money directors anymore will let a camera just linger
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on eyes like that anymore like you know,
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Scorsese and all these people did in the seventies and even into the eighties,
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everything's got to move now, you know, but sometime the most interesting thing
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to watch is another human being thinking.
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Yes, I agree. I agree. And, and, and you, you can allude to anything else or
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it's one of those great spots where the audience can sort of fill in.
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You know, I like movies that, that, that don't sort of cross all the T's and dot all the I's.
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And there's moments where you're, you're required to go, Oh, what is he thinking?
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Maybe he's not thinking about it. Me too. I'm okay with walking out of a movie
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thinking, what just happened?
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I'm really okay with that. I don't need everything explained.
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I did a movie once, an indie film, where I was a killer, and the director decided
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that for no reason at all, I should always have apples.
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I was either eating the apple or shining the apple.
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In the inside of my car, I killed people with a fireman's axe.
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In the inside of my it was just a lot of fun in the inside of my car I had like
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boxes of apples it was just for no reason free right right but then when it
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came time to edit damn that they didn't add in a voiceover that explained what
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the apples oh really I was like no.
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It should be just weird,
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Yeah, yeah, just a tick almost. Like, you know, he's always got an apple.
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I hate when they do that. They feel the need to stick up a title card or a voiceover
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explaining, like, this is what you're about to see, sort of.
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It completely ruins it. I know that great film, Alex Proyas,
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who's also been my guest, in talking about the film he made,
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a great film he made back in the 90s, a seminal film, Really Dark City.
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And the theatrical release was completely, like, they gave the game away with an opening.
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They made keitha sutherland do an opening uh
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monologue which basically gave away
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the plot no it's just like well i i did
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a film two years ago called great land
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very artsy dystopian film and
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i was a philanthropist somehow connected
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with the end of the world but i was in a bathtub and in
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front of me was a lotus flower with live cockroaches
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on it and my guy was really into
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watching the cockroaches on a lotus flower never explained ken
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nobody said what no and nobody else
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in the scene questioned why i was in
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the bathtub with the cockroaches on lotus flower it's just that was that world
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that reality that's what i like but man you you don't get it often as an actor
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yeah no no well like that scene in um vernal herzog did it had a go at bad lieutenant
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and And there's that scene where they're waiting at that stakeout and,
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and there's a, the iguana on the, uh.
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On the chair, and he's more focused on the iguana than Nicolas Cage,
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and Nicolas Cage standing in the background looking at the iguana,
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and, yeah, it's completely nothing to do with the story, but it was like a weird
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improvised, seemed like a weird improvised moment.
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Like, that's what life is, right? It's not the plot.
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Ray Bradbury, one of my favorite writers, said in a novel, it's never the plot,
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it's all about the asides.
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The plot is just, so, like, the plot of life, And I believe all of our lives
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do have a plot, the things we do every day and the things society expects us to do.
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We do them so that we can have the moments to do what we're doing now or what
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you do with your wife or your husband or your kid or the stranger you meet. It's the asides, man.
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I truly believe that's the point of life. Yeah. No, I love Bradbury.
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I read quite often. I love that
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the illustrated man, both the book and the film, but more so the book.
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Some of those stories in there i think just standalone
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are fantastic i know i often think of
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that one that's in there where the the space travelers land on
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this planet and they find out that maybe it's
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jesus or god or the supreme being has been there and one guy takes off chasing
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him and they tell the guys that stay there don't worry about following he'll
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chase him for five years and get within five minutes and they're chasing for
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another 10 years and he'll get within a few minutes but he'll never actually catch up with it.
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You know that one? Yeah, and that's the perfect metaphor for trying to find
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the divine. You're never going to do it.
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But it's the quest. That's what matters. Oh, yeah. The journey.
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As Alan Watts once said, when you dance, it's never about where you end up.
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It's just about the dance.
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That is so true. I'm rereading Lord of the Rings at the moment,
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and it's only about the journey. Mm.
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You know? Yeah. I mean, the beginning and the end are the beginning and the
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end, but what you do in the middle is up to you. It's good to talk to you.
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You're unusual because you're willing to go down all these little side eddies.
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Thank you. Oh, you're welcome, mate.
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I've had a lot of practice, but, you know, I can't take any credit for it.
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I'm a chemical concoction created by my parents, so I'm just playing the cards.
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I'm dealt with you, Bill.
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I think that if I wrote my autobiography, it would be called,
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But I Digress. But I Digress.
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But anyway, moving on, I listened to an old interview, 11 years ago,
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interview that you did for a site called Film Courage.
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And there was a rather interesting, something you said that Matt,
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our mutual friend, Matt Chasen, said to you, where you got it from him,
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that was, perception is reality.
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In this business, perception is reality because this business is nothing but perception.
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And sometimes, not all the times, but sometimes my name will end up on a list
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that a distributor has that says, this guy will help you get distribution if
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you have all these people.
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And Eric Roberts. If you have Eric Roberts plus one of the other people,
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you get distribution. And that's perception.
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There's no way to know if these things are true. But by the people with the
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power saying that they are true, they become true. because people act on what
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the people with the power say.
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So it's just perception. When I was nothing, I mean, I had only done,
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I don't know, one or two things in horror and none of them were good.
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And Matt Chasen was my new manager and we would go to an event and he would
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say, I want you to meet Bill O'Brice Jr., the hottest name in indie horror.
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And so afterwards I said, Matt, that's not true.
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And he said, it is now. And so because he introduced me that way,
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I got work. You supply the headlines. I'll supply them.
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And the work, right, the work multiplied until it kind of became true at points.
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Right, yeah. Yeah, until, as they say in the writing game, they say,
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until your skills catch up with your ambition.
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Or maybe in the old vinyl days, until you catch up with your own liner notes.
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Yeah, that's true. Yeah, you finally become the legend that you are inside your own mind.
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And then and then if you ever realize that
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you are your own blurbs or liner
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notes you should quit right then right everything after
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that's gonna be while you're on top because it's only gonna get worse yeah
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yeah yeah then you're gonna start to say do you know who i am that's the end
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yeah yeah once yeah once you have to introduce yourself that's uh that's that's
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death isn't it I think the progression in my business is,
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Who the hell is Bill Obers Jr. Get me Bill Obers Jr.
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Give me a younger Bill Obers Jr. And that's the end.
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Right, right. Yeah, yeah. When they want someone like you, but not actually you.
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Yeah, exactly. Yeah, yeah. That's right. Get me someone that's like him.
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Or in the writing game, they say, can you make it more like Spider-Man?
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Can you make it more like Spider-Man? Yeah, like you send them a script for,
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I don't know, something in action or a Western.
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And then they go, that's a great script. Love it. Fantastic.
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Don't want to change a word. But if you can make it a little bit more like Spider-Man.
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And how do you respond to that?
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I just go, well, I said, do you mean with the fluidity and action or do you
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mean you want Spider-Man in the movie?
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And they go, no, but exciting and a hero and against evil and it's exciting
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and he's got maybe a secret power.
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Like a secret identity like Spider-Man and I go, yeah, but you don't want Spider-Man.
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They know, but like you said, I want someone like Spider-Man.
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I don't, I don't want, I don't want the Spider-Man. I want a Spider-Man,
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you know, just like Bill Murray in, in Groundhog Day.
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You know, I'm a God. I'm not, I'm a God, not the God, you know.
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It's, it's correct. Look, I have no answers for some, I'm sure you as an actor,
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so you have no answer for some diabolically stupid notes.
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You know, like, why does the car have to be green?
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I don't care. It's a car, like a green, black, whatever you can get, really.
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You know, it's like that producer that thought Singapore was a made-up place.
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Have you heard that story?
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No. There's a famous producer that worked with, I think it was,
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I forget what director it was, and they were making a film which Glenn Close was in.
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It was called Paradise Road, and it's the story of the women in the Japanese
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prison camps back in the 1940s.
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And he was reading the script and he says yeah it's it's good
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but we need to change the name of this place singapore it
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sounds made up and they said you don't know singapore and he goes oh it's a
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real place and yeah it's it's the capital of malaysia ah right okay well i guess
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it can stay then oh that's great but uh yeah crazy crazy stuff but uh listen
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you don't just two movies,
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I love one-man theatrical productions and seeing actors on the stage.
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I think that actors accelerate when they're on the stage.
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I remember seeing a great one-man show with Stephen Berkhoff many,
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many years ago doing Shakespeare's Villains.
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You can still see clips of it online in places, on YouTube. You can find anything on YouTube.
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But you did a one-man show, Adversary, which is a show about the devils.
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Yeah. I've done several one-man shows in my life.
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I played Ray Bradbury on stage in a show called Ray Bradbury Lived Forever off-Broadway.
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I've done an adaptation of Ray's story, Pillar of Fire, which is one of the
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earliest things he ever wrote about The Last Corpse. Okay, you know, it's a great story.
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She's got permission to do it as a one-man piece and did it in Europe and America.
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And then currently, I'm touring with a thing I created, which is called Adversary,
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and it's about the way, I call it Adversary, a show about Satan.
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It's about the way people have seen the figure of Satan in all kinds of traditions,
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scripture and short stories.
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I've got a Dostoevsky short story, Robert Louis Stevenson, a
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little bit of Mark Twain in there john milton paradise lost
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it's all the different ways to look at the devil and because
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i'm really interested in evil and how we
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think about evil so yeah touring with that it's just a little solo show i'm
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glad to hear you say that you like solo shows because you know they're they're
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tough to get people to come to because they're like oh you know how exciting
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could it be it's just you know it's one man or it's just one woman yeah but
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it's it's a very intimate thing isn't it Oh, wonderful.
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Wonderful. I have a friend who saw him live. I never got the chance,
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but I would love to have seen Spaulding Gray doing his monologues.
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You didn't ever see Spaulding Gray doing his thing while he was alive? No.
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You know, Val Kilmer, God rest him, did a wonderful Mark Twain, and I got to see that.
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Yes, I actually read his book, oddly enough, not long before he passed.
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He was a great, great kick-ass Mark Twain show. way.
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Yeah. Yeah. I actually interviewed, uh, Jeffrey Coombs reanimator when he was
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doing his, uh, Edgar, Edgar Allen Poe show.
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I don't know if you saw caught that or saw that, but, uh, he was fantastic in that. Jeffrey really.
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I think the theatre elevates what you have sometimes. Like I was saying about
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Stephen Berkhoff, people know him from being the bad guy in Bond films and one of the Rambo films.
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And he's kind of the cookie-cutter, bad, evil Russian guy.
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And you don't really get to see how good an actor he is until you see him on
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stage for two hours with no props or nothing, just doing Shakespeare.
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And he is marvellous. he's 10 times better than he is in the films people who
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have never been to a theatrical show before i would encourage them to try a
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one-man show to start out with because it's it's so intimate it's a conversation
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and if you go see a one-man show people who have never been,
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know that the person who's on stage is really
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trying to feel you yes we
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it's not the same as doing a performance that's the
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same every night like when i'm doing it i'm
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really i want to feel you and where
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you are and where i need to be and i know people say oh
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you know it's the same words but it's it's different man every
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audience is different it's really a
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seduction it's like oh you like that yeah and then like you know i like humans
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like the show that i see you do will be different to the show that you'll do
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for the next absolutely the next night each audience is a single person I think
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of them as, and they'll never exist again.
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And even as a performer, like.
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The state of mind that you're in at that exact moment in your life,
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that won't happen again.
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So it helps if you're doing three shows a day, it helps to think I've never
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met this audience before and I've never been who I'm going to be in five minutes
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and I'll never be, we'll never be together again.
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This is a once in a lifetime day that helps to make it fresh.
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Oh, sure, sure. And it makes it all the more impactful as a memory,
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knowing that really it's kind of like you're giving that performance for that
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audience alone, even though you're doing multiple shows in multiple venues or whatever.
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That one show, the moments that they remember are just almost for them because you won't do it.
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I mean, you will do the same text, but you
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won't do it exactly the same the next night or
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matinee or whatever the case a laugh is
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weird in a show a cup i've done
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i toured as a southern comedian named
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lewis grisari he was a huge author and
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newspaper columnist in the south in
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the 80s and the 90s so his family contracted with
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me and i toured for 15 years as him so it's my
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first experience doing stand-up because the first act was nothing but the
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stand-up comedy he used to do and i learned that unless
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you're isolated in a spotlight you don't get the
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laughs right the more spill the
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less laughs and if there's any can lights
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overhead like some theaters will insist on leaving on you
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know the cans on like 10 or something no laughs
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if people can see each other less laughs
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right like it's best if it's completely dark
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and they're not aware of anything but what's in the
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little spotlight there right right and i
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found that really interesting because then
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the audience can cohere together but they don't realize they're cohering together
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it's kind of like the old days of being in a movie theory you know yeah yeah
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yeah it's i think that i think that sometimes the the audience out there in
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the dark if they know that it's dark enough.
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So if there's something that may be considered any appropriate that they either
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laugh at or want to applaud to and not be so self-conscious,
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because as you say, the house lights are not all the way down.
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And they teach each other too, because you'll have people who catch certain
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references and they'll laugh or they'll gasp or whatever their reaction is.
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And other people who may not even have caught the reaction, they
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catch the emotion and they're pulled into
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it too it's that way with tears i've drawn tears on stage and you can feel the
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first person just a little you can hear in a silent theater and then you can
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hear it spreading like we're able to as human beings to.
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We're contagious that's what i'm trying to
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say oh sure so why the hell
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don't we spread good diseases right yes
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instead of lousy deadly to
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say why are we always spreading these poison between
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us because we're highly contagious no sure and enthusiasm and passion is some
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of the most contagious diseases and i think that it helps theatrical productions
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i don't think also i think it helps films although some might argue that the
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films that have had the most tempestuous,
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gestations are the ones that seem to last forever but i
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don't always think so i think sometimes the films or the
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or the or the theatrical uh plays where everyone has such a great time and it's
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sad for them when it's over i can also have that same resonance because the
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enthusiasm and the passion involved in the project spills over into the audience
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don't you think yes absolutely.
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But on the subject of the entertainment business i was reading a lot of,
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news this morning and there's a lot of uh i know
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that you used to be out in la and uh the
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news is is extraordinarily grim like there
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was an article not that long ago about how la is becoming the
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new detroit as far as because all the all of the
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production is is moving out of town how do
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you feel about the the state of the business yeah
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it's very sad it's it's
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really all i can say is it's very sad and who's
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to blame i don't know man i i often think it's a lack of imagination in one
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way yeah because we've we've trained a whole generation of audiences now to
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expect only one type of movie and that's the only Spider-Man it's the only type of movie exactly,
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Mike and Moll like Spider-Man that makes money,
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and pays for these extravagant budgets and we've forgotten,
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Hollywood hasn't forgotten how to make small good movies, I see them,
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sometimes I get to be in them but we, audiences I think that we as a society,
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as viewers, have forgotten how to watch them.
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Yes. Yeah. No, I'm in totally agreeance with you as someone who reviews independent
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films as well as interviewing people who work in them.
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There is there i mean i can i can
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tell that most people wouldn't go a regular
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cinematic or multiplex audience wouldn't go
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and see some of the films that i review documentary
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shorts all that kind of thing simply because they
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they would pick it apart within five minutes because as you
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said they've been conditioned over the past decade
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or so uh yeah that we're we're
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self-referential too we can't lose ourself in
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any reality that someone presents to
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us because we're so aware of
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the mechanics yes that
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we can't lose ourself in the organic material that that
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doesn't sound too weird like we're all about
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we know now everybody knows about the composition
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of the shot and even what a dolly is and
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everybody thinks that they're the best critic of
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actors and directors and so we're just programmed
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to look at the mechanics instead of losing ourself
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in the world well i mean i
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i don't think i've ever especially in the last 10 years heard more talk about
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film that's primarily related to how much it cost and how much it made as opposed
26:33
to how good or bad the film is yeah mostly they talk about oh this film cost
26:40
blah blah blah 100 million.
26:42
And they spent blah, blah, blah, 100 million and they made blah,
26:46
blah, blah, blah, 100 million and that means it's good.
26:49
And then you go and see the film and it's not very good at all.
26:53
Yeah, yeah.
26:55
And we're celebrity horrors too, and that doesn't help because we're all caught
27:00
up in a name that we recognize.
27:04
Who's in it? I don't know, blah, blah, blah, blah, blah. I never heard of them.
27:07
And that's the kiss of death. That's the end of it. It doesn't matter if it's a good film.
27:11
It doesn't matter that there are an infinite number of things we've never heard of. I love to read.
27:16
I got two books out here. I was reading, waiting for the interview.
27:19
Right, yeah. And there's an infinite number of books that I never heard of that are wonderful.
27:25
And I find them. I read a New York Review of books, a book I've never heard
27:29
of. I'm going to take a chance on this.
27:32
But we don't seem to do that as much anymore with our visual entertainment.
27:37
We want the known and the familiar.
27:40
And then we wonder why we're not satisfied.
27:43
Yes, very true. Very true. I mean, if only the general public could see a lot
27:49
of the films and documentaries that I see, they would be absolutely floored
27:54
because in the independent sphere,
27:56
they're still making films that aren't based on books, comic books,
28:06
pre-existing IPs.
28:08
It's old school filmmaking. Someone had an idea and got a bunch of films together
28:12
and decided to share a dream, tell a story.
28:16
I mean, it's magic. In my own genre.
28:19
Heyday well i mean there's been several heydays of horror but a lot
28:22
of directors i worked with the 80s was their heyday for
28:25
horror the original freddy krueger it
28:29
was born of an experience that the director knew of involving a friend of his
28:35
who'd come back from the war in korea it was an original idea and so you're
28:41
not gonna get you can't go back to that idea again and say well we're going
28:47
to have Jackie Earl Haley playing this time.
28:49
Right. Right. It's, it's no longer a fresh idea, but we don't want to leave
28:53
any ideas behind because we're leaving money on the table. Yeah. Yeah.
28:58
And she's, I, you know, I don't know if maybe there's an, there is an audience
29:03
for these kinds of films we're talking about and they just never get them.
29:06
Yeah. Or, or maybe, maybe there isn't an audience anymore.
29:11
Maybe people think they would, but if they actually had to sit through an indie
29:16
film, and they'd go, oh my gosh, you know, what is this?
29:19
And you go, well, it's character development. You've got to live with this woman
29:22
for a while and then you've got to learn about her life.
29:24
You go, oh, geez. I don't know.
29:27
Yeah, they're too used to the hero showing up in the first five minutes or the
29:32
monster appearing in the first five minutes to keep people wired in and interested
29:37
because the character, you know.
29:39
It's sad that you watch some of these big films and when all the characters
29:43
are dying, I don't really care because I haven't really got to know them.
29:46
Because their story is secondary to the monster fighting or the superhero fighting.
29:53
I'm an old Star Trek guy, and I really love the original Wrath of Khan.
29:59
It moved me. It made me cry. Oh, wonderful film, yes. Spock died,
30:02
and it was about something.
30:04
So when the new one came out, I was really excited, and I went to see it,
30:08
big theater in L.A., premiere.
30:11
And while I was watching it, I was like, yeah, this is great.
30:15
But when I walked out, I couldn't remember a damn thing that happened because
30:19
so much happened and none of it mattered.
30:21
And I didn't feel anything.
30:25
Yes. There's the key word right there. I feel that the best,
30:30
whether it be books, films, plays, you leave with something,
30:34
not something physical.
30:36
You leave with something that you remember, something it was an experience.
30:42
And maybe something that will mean something to you different times in your life.
30:48
Casablanca is a movie like that depending on where you are in your romantic
30:52
life and the original Wrath of Khan was like that when I saw it I was you know
30:57
Spock died and this was the big deal but now that I'm older,
31:00
I realized that Kirk was asked for the first time in his life to take responsibility
31:06
for something he'd done.
31:08
Yeah. And he could, and he damn couldn't do it. He could not.
31:13
And it was done. It was done with such beautiful economy. And that one shot,
31:18
when he turns to where Spock usually sits behind him and Spock's not in the chair.
31:23
And that says everything.
31:27
That's everything. Yeah. So, okay. So I recently watched Peter Pan,
31:33
the Disney, which I'd never seen. Silly, but I never saw it.
31:37
So as I watched it, I realized being older, Peter Pan is not really,
31:42
it's not good to be Peter Pan because Peter was very irresponsible and he caused people's death.
31:49
He caused people's dismemberment. Right.
31:52
I mean, he was so, he was just, you couldn't depend on Peter Pan for anything.
31:57
Yes. But what he did have was spontaneity.
32:01
And so at the end of the film, the father, I think he's Mr. Darling, maybe.
32:08
He remembers when he was a boy that he also, you know, saw Peter Pan's ship in the moon.
32:14
Well, he's an adult with responsibility, but he had lost spontaneity.
32:17
But at the end, he has the two together.
32:20
So I thought back, Wrath of Khan, Kirk was Peter Pan.
32:26
He skipped out on everybody and everything, and he did it with such cavalierness
32:31
that they were like, oh, you know, Captain Kirk.
32:33
But now, at the end, when, and he makes the reference to Peter Pan with first
32:39
start of the ride, second start of the ride, straight on until morning,
32:42
and McCoy says, McCoy says, how do you feel, Jim?
32:46
And he says, young. I feel young.
32:49
Because now he's earned the right to have the youthful spontaneity because he's
32:55
taken on the responsibility.
32:57
And that's decades after I saw the original film, connecting it to another piece
33:03
of art. That's what a good movie should do.
33:05
Stay with you through your life. That's true.
33:08
It's true. Sorry, I didn't mean for that to be such a rant. No, that's marvelous.
33:13
As it has been marvelous to talk to our guest this morning, Bill Oberst Jr.
33:18
Bill has a YouTube channel.
33:20
We'll put all the links in the description to all of Bill's stuff.
33:23
Bill, is there anything else you'd like to plug for our audience?
33:26
Anything you've got coming up
33:27
that you'd like to alert people to that's coming soon? Oh, my God. Yeah.
33:33
I did four last year, and I've done two so far this year.
33:39
I did a film called Hurricane, which is a great title.
33:44
It's about the worst hurricane ever, and it happens in this demon-haunted house,
33:50
which is going to be really good.
33:51
That's the Denise Gossick. and slash watch.
33:54
The ultimate killer Bigfoot movie, that's the tagline, and it is.
33:59
It's the best Bigfoot movie. I've been killed by Bigfoot.
34:03
I was hung upside down and gutted by Bigfoot in one movie. Bigfoot ripped off
34:07
my arm and used it as a club to beat another guy to death in another Bigfoot movie.
34:12
This one is the best Bigfoot movie I've ever done, and it's called Slashquatch,
34:16
and people are going to love it. It's a lot of fun.
34:18
So, yeah, that's a couple that come right to mind. Sounds like it's part of
34:22
my complete breakfast, Bill.
34:24
Thank you for being on cinema you can check all the
34:26
links in the description bill you're a
34:29
gentleman and a scholar and that's a very beautiful idyllic
34:33
setting that we have you in this afternoon thank you
34:36
for being on cinema you can thank you for letting me
34:39
talk about absolutely nothing with such passion and
34:42
listening yes bill o burst junior what
34:45
a bloke what a talent what a guy check out
34:49
everything that bill has coming and you can
34:51
do that by checking the links in the
34:55
description so go there now check the links in
34:57
the description bill oberst jr check him out now and as always my little yugenites
35:05
thank you for listening to us on spotify or wherever you choose to listen to
35:10
your favorite podcasts i'm ken hill and until next time you've been listening to Cinema,
35:16
Zero Game.
35:19
Music.