Latest / Cinema Yūgen / Single-Location Terror & a Shyamalan Twist — Behind Kat Crime

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Single-Location Terror & a Shyamalan Twist — Behind Kat Crime · Cinema Yūgen

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G'day. That's right. It's that time again. Time for... CINEMA! YOOGEEEAAAAAAA!
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Cinema Yugen, from the ground floor to the penthouse of elevated horror, a new voice is rising.
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This week we sit down with writer-director Jerry Artakovic, the filmmaker behind
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Cat Crime, Tales of the Occult, a tightly wound, single-location descent into obsession,
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paranoia, and something far more sinister waiting in the dark.
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It begins with a girl chasing relevance, a true crime YouTuber desperate to be seen, to be heard.
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Until one message changes everything. A missing girl, a whispered secret,
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a coven that should have stayed hidden.
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What starts as content becomes confrontation.
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What feels like curiosity turns into control. And once they step inside, there is no way out.
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Joined by special guest Scott Ham-Dunas, we go deep into the making of a film
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powered by a razor-sharp script, haunting performances,
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and a slow-burn tension that erupts into a jaw-dropping Shyamalan-style payoff.
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This isn't just horror, this is the next wave.
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Bold, hungry, and unrelenting, it's knocking on Hollywood's door.
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Now welcome the director and writer of Cat Crime Tales of the Occult,
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Jerry Artakovic, and our special guest and star of the film, Scott Ham, Dunas.
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Gentlemen, welcome to Cinema Yugen.
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Hey, hey, thanks for having us. Cheers. Thanks, guys.
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This, like I said, you can check, ladies and gentlemen, check the review out,
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filmthreat.com, cat crime, Tales of the Occult is out all, so right now on Tubi.
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That's right, isn't it, guys?
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Yeah, and it was just also released on Amazon for sale in red.
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Sweet. There you go. So no excuse, ladies and gentlemen. The links will be in
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the description to the review and where you can watch the movie.
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The jerry have you ever had uh
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i guess experiences with a cult which led
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you to writing a film about it or is
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this just a matter of intrigue just a matter of intrigue really i mean i i personally
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i'm an atheist so i don't believe in anything so i i'm fascinated by belief
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in in in things you mean especially and so that's why like i think it's a level
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playing field personally between Christianity and Wiccan and,
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you know, like, I don't, I'm not like, oh, this one's super sane,
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but this is, this is nuts over here.
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I'm like, no, drinking the blood of a, you know, like each week and,
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you know, and saying, and then like, I'm like, why is that any,
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you know, why is that any weirder than whatever, you know, witches are doing and that kind of stuff.
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So really I've just always been kind of fascinated by just any belief structure, whether it's.
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Judaism, Catholicism, you know, like, or Wiccan, like any across the board that
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I find them all fascinating because I don't believe in any of them,
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you know, I, you know, yeah, it's fine. Yeah.
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No, I mean, I look, I look as someone who I used to work for a newspaper and
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I've spoken to a lot of weird and wonderful people and I did at one time interview
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a person who was at one time alleged part of a cult secret.
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Nice sect organization whatever you
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want to call them they were mainly a sex cult from from
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what i gather that you they wouldn't let you in no
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i was only there too i was only interviewing this you know this person it was
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it was it was often my job to find these peculiar stories or interviews and
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look for peculiar people i was kind of like uh william hurt in in in michael uh looking for
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weird stories like john travolta you know yeah you know an angel that says pecker but.
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So yeah so yeah it was it was it was a sex cult nothing astral or or or religious
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it was mainly just wife swapping it was like a bunch of swingers trying trying
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to and that call honestly sounds more interesting than the one i'd come up with
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it was it was basically a bunch of swingers trying want to hang spirituality on,
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on their swinging habits,
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you know, that was theirs.
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Not, not as, not as interesting or complex as the, uh, the coven of Jupiter
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in cat kind of tales of the car.
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I liked the whole, uh, the tattoo on the chest thing.
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And I love, I love the, uh, as I said, the Sharmelon, like not to give anything
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away the Sharmelon, like a little thing.
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Twist at the uh end oh what a twist yeah yeah yeah that that you know that reminded
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me the of the end of the trap which a lot of people crapped on but it wasn't
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as bad as people said i thought,
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no i thought it was very entertaining although i thought the
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the the the build-up was
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stronger than the payoff yeah yeah yeah
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he tends to do that yeah yeah i thought the movie old did you see the movie
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old with the people trapped on the beach and they're like slowly getting older
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yeah you know that was good right up until the last like i think if they had
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ended it and you didn't know everything that they give you in the last 10 minutes.
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I think it would have been great yeah m night
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dug himself such a huge hole with the sixth sense being just
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the most incredible ending ever that now yeah yeah always got to find a way
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to replicate it or outdo it yeah and it's it's never even close so he tries
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these these this craziness at the end it just kind of doesn't work yeah you're
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you're i don't know i love your volume is really low scotty can you pick it
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up i'm sorry yeah you're right hopefully that's better is that better
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yep yeah okay yeah i thought i thought i
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thought six cents signs in the village he that was when
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he really was on his game where he can start and finish and
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he had all the tools in it and it was a good pacing and
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didn't kind of but yeah i know what you're saying now he he knows
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how to get you into it but i feel like a lot of times
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now he's digging himself a hole of like where am i sending in
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this because i made it so yeah so yeah i mean
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i i feel that the i think the village would
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have been absolutely perfect if it wasn't
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sort of like a mcguffin fest in the last sort of 10 minutes yeah it's like he
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shows you oh the things were under the floor and the people knew this and it
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was really you know it was just like too many mcguffins whereas i think if he
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had just left out all the mystery.
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She gets to the wall, she climbs over, and there's a car there, and the movie ends...
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And everyone would be like, what? Yeah. And forget revealing all the shit about
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the people and the creatures in the forest.
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Just the fact that it's not old timey times.
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It's. Yeah. And that's it. Yeah.
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That would have been perfect. But I think he's got, he's, but,
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but, but he had to do that for his, his style of, no, here's the portion where
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now I show the flashbacks of everything. And that, that, that.
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So I think he, I think he's locked in. to that is at least yeah he definitely
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keeps that it's almost like how george lucas talked about the cadence of star
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wars it's like here's the shamalan cadence like here's all this great mystery
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and then here let me just lay it all out for you in case you weren't paying attention.
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But no not not as
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well threaded a needle as as the
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plot of of this one which i have to admit
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when the turn comes and i won't give it away because i want people to go and
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watch the movie the turn is sort of so subtle in this one that i just yeah when
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it when it happens and and all is revealed you know just by a certain person
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seeing a certain photograph and making a certain,
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correlation with a certain character yeah absolutely just floored me i was like okay,
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okay wow wow wow and the stakes sort of
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go up and then uh and then
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scotty you turn out to be a bit of a dark horse too mate i do turn out to be
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a little bit you never can tell what those town sheriffs yeah where they're
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gonna go so that's what we're kind of hoping to add there to kind of and i love
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how do i love how sort of i love how it seems like right up until a certain point that you are,
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not what you seem. Yeah. Right, exactly. If that makes, yeah, without giving it away.
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Without giving it away. Well, and just to speak to that too,
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the one thing is like, not that it was much of a tease, but like once he does
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the thing with the cuffs with the girl, that was like the first crack in the
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army of like, he's kind of weird. You know, like, yeah, yeah.
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Yeah, like, hey, do you want me to cuff you for your Instagram?
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It's like, it's like, no, that moment passed. Now it's just weird to bring up now.
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You know? So that was the first where I was like, cause I don't want people,
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you know, be completely, you know, yeah.
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I want them to know that there's, there's, there's other things going on. Yeah. Yeah.
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I look, look, I, like I said, in my review, I've seen in the last little while,
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a lot of these single location pitches and in quick succession,
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there's been a couple that I find that a lot of independent filmmakers,
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when you say single location, it feels like that they're so intent basing the
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story and the fact that it's all in one location rather than taking their story
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and setting it in one place.
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Yeah. Or as limited and limited a location as possible. Yeah.
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Do you think, I mean, there's that difference. Like there's people that,
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Oh, this is all about the fact that it's all in one house or it's all,
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I don't, if the story doesn't work.
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Yeah. Then I'm not, I'm not like, Oh, like, you know, it's like,
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it's like the whole, like.
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It's all one continuous shot, that kind of thing where you're like, that's great.
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But if it's, if, if, if I don't care about where this is headed or where it's
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going, then the fact that you made this all in one take or one shot,
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like that's less interesting now, you know, like it's, it's kind of that, that,
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that for, for, for the one location where people are so proud what they were
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able to do in one location that they kind of forget that you still got to make
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it a interesting story. Yeah. Interesting story.
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And, and, you know, Scott's, this is Scott's like fifth film.
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He's produced actually feature uh he only brought me on
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the last one i wrote i didn't direct the last one i
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wrote the last one it's called christmas gamble christmas gamble and
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i was a writer on that one and and and just because i was like
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what are you guys doing because you know i went to film school
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i've been screenwriting for all these years and i was like man it's so hard
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getting something made and we had something option they wanted to you know a
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10 million dollar six million dollar budget and it's just harder to raise that
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money than people think and so like so i would say i was like dude you're making
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all these movies you know for a reasonable budget like Like,
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I want to go have fun with you guys.
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And so Scott's like, well, write me a script and we'll go do it.
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So I did the Christmas one. That one worked out. And Scott started that one.
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He was really fantastic.
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And, and, and by the way, I've known Scott now for like, what are we going on? Like.
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25 years 30 you know like 25 years probably
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we've been buddies for that long and he's been
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an actor the whole time i've known him and so hence
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why i met him when he was bartending but but no
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so so so just like bruce willis huh there you
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go yeah lots of so yeah that that was
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back in the day we were babies i was bartending he was serving and
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who knew we both wanted to do this uh
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yeah the next movie you do the next movie
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you guys do will be like like a mini diehard
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and the next thing we won't be able to get scott on the phone no way
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we'll have to go through like 10 people to
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get to him no just call me and i'll make fun of him until he calls back uh no
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but so anyway the point is is that scott said we after we did that when we had
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a good time and he's like do you want to and i was like i kind of have an idea
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for another one and he was like okay do you want to And so like,
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I didn't, I didn't write it until he agreed.
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To, I said, what do you think about this premise? And he said, no, it sounds fine to me.
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And he's like, if, if, if, if, you know, you can, you can write the script and then we'll do it.
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And so he was good at his word and, you know, I wrote the script,
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but, but the whole one location or limited location things at the end of the
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day, I'm still a slave to the, you know, the Sid Field, save the cat fucking, you know what I mean?
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Like I, you know, like I'm not clever enough to be a Charlie Kaufman yet. I'm just not.
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So I try to stick to the old rules and I try to, you know what I mean?
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Like yeah yeah and so and
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and especially on the low budget it's like already we have
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as much as i always try to fit a portal inside john
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malkovich into each script it just doesn't work exactly yeah
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yeah it's brilliance like that or brilliance yeah you know brilliance like the
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coen brothers are able to do and all that like it's just like you know i have
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thought about the action film version they're like you know being jean-claude
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van damme or something like that you know where they find a portal inside Jean-Claude Van Damme.
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Oh, yeah. And I'm surprised that there's very little there.
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Inside of his big toe, so you see a lot of kicking? Yeah.
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Yeah, that would be good. That would be different. I'll say one thing on the
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contained location thing, too. Sure.
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From a producer's standpoint. Please do. Producing...
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You know, independent, lower budget features like this, it's,
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it's sometimes it's, that's what you have to be careful of is that you do need
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a contained location helps a lot or limited location just because of the cost
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of locations can skyrocket your budget.
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So that's also too, when Jerry sends me something, I, you know,
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we'll say, I'll say, well, yeah, but this, you know, your car chasing,
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it's got to go, we got to do something different. We got to figure it.
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And that, you know, I've, I've upset some people in the past before who maybe
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we wanted to work And I said, this is, this can't happen like this.
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This has to happen in a restaurant.
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It can't happen, you know, on a road or anything, because we just don't have the budget for it.
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So I think sometimes, which Jerry does a really good job of,
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he's not trying to force his story or his writing into the contained location.
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It's just kind of naturally lends itself to it, which makes all the difference
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in the world in these Indies to me, when it seems like you just kind of forced
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it into this contained location rather than it just naturally belonged there
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like I think Cat Crime did.
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And A Christmas Scamble too almost took place entirely in a bar.
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But when you watch a movie, you go, that makes sense. I get it.
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And I think with this one too, it just made sense to take place how it did,
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just to minimal locations.
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But from a producing standpoint, it's just like, look, man, I can't get another such and such amount.
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Dollars from our investors and our people this is this
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is what i got and we got to have more days just
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at the house type of thing and i'm and i'm not gonna lie before
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i before i write the script i check with scott and
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i say what where do we have like where can
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we shoot like i let me know what what i
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have access to and i'm like can you get a this can you
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get a this you know like and so that was the christmas one which
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by the way we were able to get tom arnold and michael madsen are both in
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the christmas one which was cool yeah and yeah
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michael madsen plays our our you know like our our heavy you know so but but
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but i asked him i said i have an idea but can you get a bar okay and we we worked
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at restaurants real life and scott called a couple friends he said i got one
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as long as you shoot all nights this guy will like and this was a fully working like.
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Bar in a very busy area but he was like hey after we close you guys got it from
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this hour to this hour for, you know, and, and so we did.
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And, but then, so I usually check with Scott and I'm like, what can't we get?
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Can we get a warehouse? Can we get a house? Can we get a bathroom?
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Can we get like, and if he signs off on all those and I just make a list and
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I'm like, okay, I know that I know the locations I have to work with now, let's see, you know,
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if the story still works naturally fit itself yeah yeah
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yeah that's totally yeah it's a hundred percent it's it does
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make life easier to have less locations with you know
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company moves and travel and or if
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you have to you know put actors up for crew up for an
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evening or something if it's outside or renting a stage or renting a set or
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if you can get someone to donate it just that so much goes into it that you
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don't think of when you're writing it like oh i have my action scene here my
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fight scene here and then then they'll be out on the boat and then they'll be
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you know they're in an ocean and then yeah like scott what do you think can we make this and i go well.
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Boats gotta go and you see their whole
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face go down and uh be like well the
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boat's the whole movie we can't take the boat
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out of the movie and then i'll be like well
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can we can't they be on the shore on the sand and then by then
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they want to give me the finger or just wrap their hands it's like
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okay scott as long as the hero gets to wear an eye
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patch yeah if you come up with the extra
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a couple hundred thousand dollars then sure but this is we don't
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have enough well the other thing too is we made this we've made
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it it is it is a considered a you know a low budget micro
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budget but it is a union so it is a sag project so we so we did pay it we pay
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everyone the the the sag at the very least the sag minimums and then and then
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on from there so when we think of these things it's not just a matter of like
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hey they can show up and we've got this room it's like no no we have to.
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Each person needs to be paid the SAG minimum day rate for their job.
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So it's like, we do everything above board because we don't want it a thing
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where people are working for 18 hours and then we're promising all these things.
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It's like, no, if you go overtime, you're getting paid overtime.
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So it's like, yeah, it is. We keep the budget really low, but we keep that in
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mind because it's really important.
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More to Scott, Scott was very important to Scott. It's like,
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no, people don't like working, you know, you know, just, just,
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you know, like without including their agents and their, you know,
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and like, they like doing it that way.
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And it makes everyone feel comfortable and like they're a part of something that's not
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just you just got a camera with your buddies in the backyard and
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just said hey we're gonna be here between these hours and we're gonna
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get it's like no they you know we so we try to create a
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professional setting down to down to scott because that you know it's really
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important that it's become it's a union thing for him yes i've been been in
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sag for a long time so i am kind of a stickler for that and i love the other
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kind of rogue filmmaking too but at some point you know i wanted to get us to where we're.
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Only doing it this way and paying sag rates and dealing with agents and doing
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everything above board and paying into pension and health.
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And that's what enabled us to be able to reach out and land Michael Madsen or
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Tom Arnold or Tobin Bell was that they know that people don't have a problem if they come to the set,
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whether they're bigger names like that or whether they're just people just starting
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out like some of the other cast.
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Right. It's a slightly more polished, independent production
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that's what i hope so because then you hope that
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this that pays off down the line when you make your next project
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that now there's contacts that you made everybody went back and said i
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had a great two weeks on that set my checks didn't
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bounce or i didn't wasn't asked to work overtime for free or
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i you know trust me no one's getting a steak and lobster for craft services
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you know we're getting subway and pizzas and stuff like everybody knows what's
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what's happening and uh everyone knows they're getting paid everyone knows it's
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a union credit and everyone knows their agents and managers will be happy and
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we do the best we can to, on a little budget,
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be as professional and try and be as big budget as we can when it comes to treating
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people with respect and paying people their deserved wages.
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Yes, very classy production, all-round cat crime tales of The Occult Takes Elevated
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Horror from the Ground Floor to the Pet House.
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You can check out the review, filmthreat.com. You can check out the movie too.
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Get down to the links in the description let's talk about the uh let's talk
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about the wonderful cast all the wonderful ladies in this critique christina coglund.
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Kyla nova brady ray writer
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is it writer writer yeah brady rater
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brady rater cameron cameron mayor
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who was absolutely incredible as the uh the grand
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high poobah of the uh really menacing
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she's got that great sort of katherine keener get out thing going on that's
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creepy sinister i tell you boys this movie really reminded me of weapons i weapons
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was the film last year the very few films make me sit on the edge of my seat
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through the whole movie and weapons is one of those movies and this,
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had me doing the same thing especially after
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it gets to a certain point but i won't spoil it because people have to go down
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to the links in the description to go and see the movie but there's a certain
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there's in a certain point in this there's a certain there's a certain point
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in this movie at which I leaned forward and I don't think I leaned backwards
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after leaning forward at that point.
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Uh, that is really incredible. We, we obviously me and Jerry is huge fans of
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this too, but when we get, we've been getting great feedback on this one and
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you say such nice things and, and, and we agree with you wholeheartedly.
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So it's wonderful to hear you say it. It was so, it was so great.
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I can't believe that more people aren't, aren't saying more, uh, incredible things.
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We've got to get the word out. We've got to keep it and stuff like this.
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So we, well, yeah, I, and I mean, you were saying that's, that's so nice of you to say to Kent.
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Yeah. Honestly, like, uh, you know, like, I mean, I am as a,
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as a screenwriter myself, as a screenwriter myself, the first thing that I look
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at when I look at a movie is the writing.
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I'm a little bit biased that way, but the writing in this is, is impeccable.
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The banter between oh geez i'm gonna forget their names i'm sorry yeah yeah
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the banter between them at the start and all that it's just like.
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Wow i mean it's just like i've i see
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a lot of films maybe too many and a lot
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of independent movies and sometimes that's where they suffer is
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in that banter and it's not always the
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actor's fault because they're given their best for what
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they're getting and and yeah and
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it's just so refreshing and so nice to see when there's
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dialogue that actually flows like
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a stream through a beautiful valley in the
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mountains you know what i mean i love it
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yeah i know and i know when i'm you know when i'm writing dialogue
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too and that honestly and and you know
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as you're as you're a screenwriter too that's the best thing about
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these independent movies is we don't have a
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lot of time you know to get all the shots we need so they
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have to stick to the script so no one's in there no there's
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no there's no there's no actors like scotty with you know that think
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they got better lines than we'll tell you i mean it's
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like just you know we'll do you know we only have enough time to do what's in
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the script so there's no improv oh yeah he's not like james woods like you've
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got to do a take okay scotty we'll do untake with the script and then one take
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you can do whatever you like yeah we don't have enough time for that so it's
24:04
like everyone's stuck and honestly because of the the local single location
24:08
and just the minimal characters.
24:10
It's going to be a talking movie there's a lot of dialogue and talking about
24:13
praising the cast Those girls were phenomenal.
24:17
They didn't, they didn't fluff one line at like, they came in so off book and
24:22
it was the least last thing we had to worry about.
24:25
And they had like monologue, especially Prudence when she's at the, there wasn't one.
24:30
They didn't, they gave us the exact, they drilled the performance every time,
24:34
every take, and they didn't flub any lines.
24:36
They never even called for lines. It was crazy. I was going to, how did it like.
24:40
They know the script better than
24:41
I do. Like, but yeah. So the actors were phenomenal. That's a good thing.
24:45
No, I was truly, but what I was going to say is that. That's a good thing because
24:49
there is a most as, as hopefully you were, you know, I mean,
24:53
as you know, when you're writing,
24:54
as you know, when you're writing it, you're in it, you're seeing like,
24:57
it's almost like you're at a play and this version of the play,
25:01
as you know, when you go to the theater,
25:05
they might do it twice a day, seven days a week, but the version that you see
25:09
is going to be different from every other. Yeah.
25:13
Yeah. So, you know, like they say, the film gets written three times.
25:16
It gets written on the page.
25:17
It gets written while you're filming. And then it gets rewritten again.
25:20
And then you post production, which is why I was so impressed with it because
25:23
they really, they really just took the dialogue, said the dialogue,
25:26
but it felt natural coming out of them because they all, they did such a fantastic job. Yeah.
25:31
And Brin's was just, just, yeah.
25:34
Manevolence, manevolence personified. It was, yeah.
25:38
Yeah, we did the casting, Scotty and I, and I remember we did it through Actors
25:43
Access where we found everybody, right?
25:46
That's where, yeah. And so we saw tons of people put their tapes in,
25:50
then we did callbacks with everybody.
25:51
And it's like casting's hard because you always, you think, well,
25:56
like, I think they're awesome, but it's someone else.
25:58
So like, that's why it's good having two people so I can sound like,
26:01
so Prudence, for instance, I was like, I think this girl's amazing.
26:05
Am I crazy or is she just awesome?
26:06
And Scott's like, no, she's great. And I was like, then let's stop looking.
26:09
Cause if she wants to do it, it's hers, you know, like, so it's just like,
26:12
and it was like that for all the actors, really.
26:14
They were, they were, they, the, the ones that the cream rose to the top and
26:18
they were like, there wasn't, there wasn't a role, there wasn't a role where
26:21
anyone was miscast in this. I mean, any, everyone. Yeah.
26:26
Perfectly. Even Scott, even Scott, even the guy, who was the guy who played
26:30
the sheriff? He was good. I liked him.
26:35
And there wasn't a lot of improv because everybody knows that Jerry has a finger
26:39
on the pulse of how 20 year old girls talk.
26:41
I know exactly how 20 year old girls. Yeah, that was, that was good.
26:45
That was good, man. I have to give you props.
26:48
There's a lot of, there's a, I thought this guy's, this guy sits in public and
26:53
listens to young girls pontificate a lot, I think.
26:57
I agree with you. I don't know what he does in his private time anymore,
27:01
but that's got to be on the list. Yeah.
27:04
The, the, yeah. And I tell you, and I told, well, I told Scotty that I'm like,
27:08
like, well, at least not for the other girls, but for Dina.
27:11
I was just, cause like, I don't, I don't think there's anything worse than trying
27:14
to act, trying to act and sound young, you know, like it never reads authentic. Right, right.
27:18
Cause you see videos of fathers like trying to talk like their kids and the
27:22
kids. Yeah. God, shut up.
27:25
Yeah. So my, my, my method was.
27:28
I'm just going to make, cause I'm a very, like in Scott is we're very sarcastic people.
27:33
There's no, we rarely say anything without a joke coming out of our mouth.
27:36
And we we talk a lot of shit like in a fun
27:39
way to each other to friends and you've got a
27:42
shorthand between each other so that's the only way i know how to be so
27:45
i'm like that's that's dina and i'm just gonna write her
27:47
the way the shit i would say and and but the
27:51
funny thing is when people read it just because you're not
27:53
trying to be young you're not trying so when people read it
27:56
they're like oh wow she reminds me of my girlfriend it's just like i
27:59
think it's i think it's just universal people are just sarcastic at
28:02
all ages and they have fun with each other and so it's just
28:05
like if you tried too hard to be like what's what's
28:08
the cool thing kids are saying you know like because i'm you know i'm 46
28:11
years old so me writing for a 22 year old or whatever you
28:14
know like character you know i tried it would
28:17
not like you know like you know like jack nicholson
28:20
as good as it gets i think of a man and i take exactly he's in an accountability
28:25
exactly the opposite i think of myself and go what would i say in this scenario
28:30
instead of me it's going to be fucking in her saying it that's it yeah because
28:34
i just kowski like when i write i'm the hero my shit.
28:39
Pretty much yeah but and then brady as
28:43
uh as uh i thought she was phenomenal just because
28:46
she had all like she had to play the you know the mousy fucking reserve conservative
28:52
you know like but without you know and and so i gave her all the big words and
28:56
you know like so and she handled it fantastic i was so blown away but i was
29:00
the girls did such a great job They really did. Yeah, props. And also to skip,
29:04
kip yeah kip the creepy husband yeah yeah
29:08
kip the creep he's one of the pretty he's one
29:10
of the producers on the film oh sorry kip well done mate well no he's also he's
29:15
also done a lot of films with scott scott as well and he's he's done a ton of
29:19
independent he does independent he was great he was you know the perfect submissive
29:24
dismissive but don't turn your back on him kind of.
29:29
Creepy dude yeah yeah with a ponytail that ponytail doesn't make you look hip
29:38
young or cool buddy um but uh no i,
29:45
no actually no before we shot it he
29:47
had long hair and he and and he was gonna i think he was planning on cutting
29:52
it or something and i said dude keep it for because what i envisioned for him
29:56
was what who's it who's the ed norton character i'm thinking basically i was
30:04
thinking kind of like glass onion you know like i like,
30:08
I just, I was thinking of him as like, he was like a former magician or something,
30:12
you know, like, just like I pictured him as like, he, he used to be a magician
30:16
in, in his, in his own mind or something like, that's the aesthetic I wanted him.
30:20
So I said, keep your hair long. Oh, we like, yeah.
30:23
And I want, I want, I want leather bands around your wrists.
30:26
And I want you to, you're like, I want the picture. You have been at some point.
30:30
You're a shitty fairground sorcerer. Yeah. Yeah, exactly.
30:36
Who looks super cool. An ex. shitty fairground sorcerer.
30:40
But no, fantastic cast all round, fantastic script direction performances,
30:47
polished professional independent cinema at its best.
30:50
Check the links in the description, ladies and gentlemen, cat crime tales of
30:55
the occult review film threat.com. It's on Tubi right now for purchase on Amazon
31:01
and prime and all that sort of thing.
31:05
Jerry Scott, But, gentlemen, you have done incredible.
31:12
There's a question mark at the end of this movie.
31:16
You know, people always go like, yeah, it's, it's cool enough.
31:21
I do want to know what happens next, but I'm also kind of, I'm also kind of
31:26
hankering for the time when there were just standalone films and there is a
31:31
question mark, but it's never answered. And that's kind of. Yeah. Okay.
31:35
You know what I mean? Yeah. Yeah. And I, and I, I honestly, I like question
31:39
marks in standalone films too.
31:41
Yeah. I just do, you know, like I, even though you don't plan on a sequel or
31:46
you don't think one or whatever, like I do like being like, and they go on to
31:51
you fill in the blank, you know what I mean?
31:52
Or you're like, well, what's going to happen next? You know,
31:55
like I, I do like that element.
31:57
Yeah. I like, uh, I like question marks as a producer.
32:01
So if it is a big hit, someone read it out to me and goes, do you have a sequel
32:05
or can you make it a limited episode thing? I go, yes, I can.
32:10
You betcha. that's what i always hope you bet
32:13
you in the next the next text is to jerry go start writing
32:16
buddy yeah exactly we got we got a six episode order we got we got we're doing
32:22
the prequel it's young prudence creating the yeah whatever yeah guess what someone
32:28
didn't die exactly she's back Hopefully the sheriff, but yeah,
32:34
yeah, yeah.
32:36
It's like, it's, it's like, and this time it's like a, a, a,
32:40
a fix on like, uh, I know what you did last summer and the sheriff comes back.
32:45
You know there you go hey i got some handcuffs for your photo shoot girls.
32:54
Are you this summer yeah get
32:59
ready can i can i ask you a quick quick question how did
33:02
you get into the the reviewing game scotty are you
33:04
okay on time yeah yeah okay how did you
33:07
get into the reviewing game and when you know like what was your kind
33:10
of what laid you here i mean i know you're obviously a
33:13
filmmaker and a writer so what made you
33:16
take this next up oh i just you know
33:19
i thought i'd have a crack i thought
33:23
i would go i used to do it for a news i just used to do it for a newspaper so
33:26
i i just thought have a go okay that's great i love all those people i i talked
33:32
to alan a couple times he's reviewed some of my films i produced in the past
33:36
so i think they got a great thing going there so you you got a you got in with
33:40
some good guys there i think yeah I just,
33:43
yeah, I just, I used to do it for a newspaper and I heard, I was listening to
33:47
their podcast and, and yeah.
33:50
And they said, this is how you, this is how you sign up.
33:53
And so I thought I'd, I thought I'd done it before.
33:56
So I just thought, yeah, they're indie friendly.
33:59
Yeah. And I, and I, because I work
34:02
in independent film, I like to support independent film. So yeah. Yeah.
34:06
And I like, and I, and I thought your review was, was, was so wonderful because
34:10
it's obviously So you recognize, hey, if you're going, you know,
34:14
if you think you're going to go see the next, I know what you did last summer,
34:18
budget level, it's like, that's, no, this is independent.
34:21
So you have to like, you know, you seem like you gauge that.
34:25
Oh, yeah. I mean, you have to gauge on the sky. Some people don't.
34:29
You know, some people don't.
34:30
Yeah, yeah. I mean, they compare apples and oranges, and it's ridiculous.
34:36
Yeah. But anyway, before we run out of time, gentlemen, thank you for making
34:43
an incredible film, and thank you for being my guest on Cinema Yugi. Thank you. Thank you.
34:48
Yes, cat crime, tales of the occult, Jerry Artakovic and Scott Ham.
34:54
I'm Dunas, starring and producing.
34:58
What a great film, ladies and gentlemen. Get down to the links in the description.
35:02
My review at filmthreat.com. You do not have to wait.
35:05
Get over to YouTube now and see what we've been talking about in all its excellence.
35:12
Cat crime, tales of the occult. Get down to the links in the description now.
35:17
And as always, my little Eugenites, thank you for listening to us on Spotify,
35:22
iHeart Radio, or wherever you choose to listen to your favorite podcasts.
35:26
I'm Kent Hill. And until next time, you've been listening to us on Cinema U-Games.