It’s time to close down your haunted curio shop, grab your anti-teacher assault pencil, and take a trip to the closest madness-mouth, because in this episode the crew welcomes back director David Weiner to the show to talk about his latest entry in CreatorVC’s famous line of genre film documentaries, In Search of Darkness: 1994-1999! Pop this into your Talkboy as they have a fascinating chat on the process of putting together the most ambitious (and lengthy) horror retrospective yet, the decision to split the project into two films, what he thinks made the nineties stand out creatively as horror struggled to find its footing financially, and how the upcoming millennium stirred up old fears in audiences as it slowly introduced them to the scares to come.

In Search of Darkness 95-99 on sale here: https://90shorrordoc.com?sca_ref=9729058.lIiOUEN8Xd

Snag yourself a copy and show your support!

Also available is a double pack with 90-94: https://90shorrordoc.com/products/in-search-of-darkness-90s?sca_ref=9729058.lIiOUEN8Xd&sca_source=boxofficepulp.com

While you're at it, pick up the CreatorVC digital filmography: https://90shorrordoc.com/products/digital-bundle-cvc-filmography?sca_ref=9729058.lIiOUEN8Xd

Find David and CreatorVC elsewhere on the internets:

• CreatorVC's Website: https://www.creatorvc.com/
• David on Twitter/X: https://x.com/tikiambassador
• In Search of Darkness on Twitter/X: https://x.com/80sHorrorDoc
• In Search of Darkness on Instagram: https://www.instagram.com/80shorrordoc/
• In Search of Darkness on Facebook: https://www.facebook.com/80sHorrorDoc
• David on Instagram: https://www.instagram.com/itcamefromblog/

David's blog: https://itcamefromblog.com/

Check out the mega documentary SLASH TRASH by CreatorVC: https://slashertrashdoc.com?sca_ref=9729058.lIiOUEN8Xd

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Cody: 00:00:29

Hello and welcome to Box Office Pulp, your one stop podcast for movies madness, moxie. And tonight, a descent back into the dark, dark days of the mid to late 90s. As always, I'm your host, Cody and joining me are my co host, Mike.

Say hello, Mike.

Mike: 00:00:42

Hey.

Cody: 00:00:42

And Jamie. Say hello, Jamie.

Jamie: 00:00:44

Hello.

Cody: 00:00:45

I'm shocked.

Normally there's a lot more stuff you guys say that throws me off my game before I can actually introduce the guest host, but you're just letting me ride at it. This feels weird, like there's a target pain on my back.

Anyways, we're also joined tonight by director David Weiner who's been on the show before to talk about In Search of Darkness. But now In Search of Darkness reloaded. We're here for in search of darkness 95 to 99, which personally is my jam.

I fucking love 90 movies, so I'm very excited for this. David, thank you so much for coming back to talk to us.

David A. Weiner: 00:01:13

Hey, thanks for having me back on. Yeah, you know, we could talk about the whole 90s. We don't have to talk only about the second half.

But you know, for the uninitiated, normally when I've done these long form documentary, these long form documentaries or, or long ass documentaries, they're, they're four hours long, five hours long, and the last one I did was six hours long. But they cover the entire decade.

But because we got into the 90s, we thought we'd try something a little different and divided into two parts, you know, and the idea was, well, we'll just make a smaller one, you know, maybe a three hour movie and then divide that in two and if people really like it, we'll do another round. But no, people seem to really, really like longer sits, I guess, or you know, just more bang for their buck.

and now doing this part two,: 1995

Cody: 00:02:13

So I was going to ask about that because I just assumed when you broke it up, okay, this is going to be 90 to 94, then 95 to 99, that that was like a lessons learned from In Search of Darkness where you just covered all the 80s and then you had to go back to it two more times to get all the other little pieces in there. So that wasn't necessarily the consideration we were going through. Just as like a streamlining effort.

Like just be so much easier to write this thing if I only had to focus on the first five years at a time.

David A. Weiner: 00:02:36

Well, you know, yes and no.

Like I can give a flippant answer, but fundamentally like the, the answer is, you know, Robin Block, who's the CEO of Creator vc, you know, he's my executive producer.

He, he, he allows me this won to make these long form documentaries but he's like, well this time around why don't we just do that sort of, that would be the approach where it is shorter times two, so you still get like a six hour movie but it's just more manageable to do. And once I got stuck in, listen, do I want to make a six hour movie each and every time I make a documentary? Not necessarily. It's a lot of work.

It's a lot of work.

Cody: 00:03:17

I'd imagine.

David A. Weiner: 00:03:18

Yeah, it's blood, sweat and tears. But I got to tell you that there's so much amazing material. I get so, so many amazing interviews.

There's, it's a wealth, it's an embarrassment of riches, you know, and, and, and so a wealth of content. And what happens is, is I'm just like, well I'll make it a four hour movie. I'm like, no.

You know, people are just like, they, they, they expect, they being our, our very supportive community and backers of these projects, they always say, I mean if you read on letterbox, I love how long this is and I could, it should be longer than, you know, and people really say that I read this stuff and I'm, I'm like really? Okay. And it's to the point where people are like, you know, tap my veins, put it in 24, 7. And of course they're kidding I think.

But ultimately, you know, they want, they just love the fact that it goes on forever and it's kind of this comfort blanket for people. So I did the first one and I just said yeah Robin, I think I'll just make another like five plus hour movie.

And it ended up being the longest one yet. And so now that I'm doing part two, I feel absolutely obligated to the fans and to the content to do more.

And so I'm delivering this second half 95, 99 as another six plus hour thing. And I gotta tell you I just got finished trimming out about 90 minutes of material. So I don't know. Make of that what you will. Yeah.

Cody: 00:04:43

Extended cut, director's cut, coming this fall.

Jamie: 00:04:46

One thing that's changed since the last time we've talked that I was thinking about earlier today is the. There has been a rise in the five to eight hour YouTube video has become a very big draw.

So it seems like that's just a thing a lot of audiences are getting more and more hungry for. And it almost seems like lengths are becoming a bit of a dare.

Cody: 00:05:09

I definitely run into that quite a bit and I'm not ashamed to admit I have spent long Saturday nights watching three hour documentaries of people talking about the making of Resident Evil 4 the video game. So I'm not surprised that other people are into this stuff.

David A. Weiner: 00:05:21

Well, I admire anyone who puts these stuff on you. This stuff is on YouTube because it's a lot of work.

It's a lot of work because what you ultimately see is the result of someone's organization, thought process, prep, resourcing and then editing what didn't go in out. And sometimes it might feel like it's everything plus the kitchen sink.

But there's still a huge amount of effort and thought putting these things together. And so it's quite an achievement to be able to put, you know, crank that out. You know, for me, it takes a year to turn around these YouTube videos.

It's. It's faster and that's quite impressive to me.

Cody: 00:06:00

That's. Yeah, it's insane that people can do this on a monthly basis. I don't know how they do it. A lot of Adderall, I would guess.

David A. Weiner: 00:06:06

Well also, you know, just fundamentally though, I don't know if they're interviewing like 50 people for their video. So that might be part of the process that I'm.

Cody: 00:06:16

I think they're probably just reading a lot of Wikipedia articles and regurgitating.

David A. Weiner: 00:06:21

Yeah.

So for the uninitiated, with these In Search of Darkness documentaries, I did a trio of 80s documentaries where talked about 80s movies and got the icons and the legends of the era to sit and interview and talk about working in the 80s and working on horror movies.

And so whether they were in the front of the camera or behind the camera, the directors, the actors, the writers, the composers, the special effects folks, you name it, it was an absolute pleasure to talk to everybody. Lots of experts and enthusiasts as well.

And fundamentally it becomes this big celebration that feels like you got to have the cool table in the back of the bar and when they Kicked everyone else out. You got to stay late and have drinks with the likes of John Carpenter and Robert Englund and Heather Blankenkamp and, and Barbara Crampton.

But yeah, you know, it's very, very cool. We did three of them for the 80s. I did one for Sci Fi as well, In Search of Tomorrow.

And then, yeah, so we're doing the 90s and we just divided it in half and half. But what it is, is each year I curate a bunch of titles and we have people talking about individual movies.

But in between the years, there's larger context chapters where you talk about the special effects, the pop culture zeitgeist at the time, the music, the practical effects, you name it. To create a larger context. Look at the puzzle that a filmmaking and reflections of culture and society can become in the course of a decade.

Cody: 00:07:54

For prep for this, I actually watched a bunch of different 90s horror films in the last few days. And it's, it's astounding to me because you go from something in 95, 96, like the tales from the Crypt movies to I think it's 98 with the faculty.

And those movies feel like they are completely different generations. They, they don't feel like they should have been made three years apart. They feel like they should have been made like 15 years apart.

David A. Weiner: 00:08:15

Well, a key element is, is the Kevin Williamson contingent.

And basically when people look at the 90s, I, I think, and I'm talking about the average non hardcore horror fan, they kind of look at the 90s and they're like, well, gosh, what was big in the 90s? I don't quite remember.

But then you had Scream and, oh, I guess there was Blair Witch Project and yeah, yeah, it was pretty cool, you know, Sixth Sense.

Like, the more you start thinking about it, your memory hole starts dissipating and you start realizing, wait, there was a huge amount of really, really, really cool stuff in the theaters, on video, straight to video, huge amount of horror people doing DIY stuff in their backyard and making it to the shelves of the mom and pop video stores that you went to.

You know, J Horror was creeping in and so on and so forth, but a huge part of it was screaming Scream, which we forget or didn't know in the first place, was kind of a sleeper hit. You know, Wes Craven, they're like, oh, well, Wes Craven's new nightmare didn't do that great.

And yeah, Wes Craven's a standby, you know, when it comes to horror. But, you know, all right, he's got a new Movie Scream. And you know, hopefully it'll do all right.

But it totally revolutionized, at least from the standpoint of studios. Wait, horror is big again. Wait, it's making huge box office.

Wait, people are going to go see a movie if it's really glossy and you have the cast of Dawson's Creek in there and Party of Five and people are going to pay big bucks to go see it. All of a sudden you have this huge wave and you have combination of Kevin Williamson working with Wes Craven.

But you also have meta filmmaking, which Scream was not the first meta film, but this self reflexive, postmodern kind of take on which you would see in movies like Tales from the Crypt. You know, it's definitely there. You know, it really caught fire with Scream.

And all of a sudden the average person who wasn't a horror fan totally wanted to go and see their favorite hot teens in movies or hot 20 somethings acting like teens in movies. But there's even just real quick.

Sorry, it just popped into my brain, you know, in Bordello of Blood, there's this great little moment where Dennis Miller is walking in this sort of dark alley, you know, this dark sort of dank room, and he's like, I feel like I'm in a bad Tales from the Crypt episode.

Cody: 00:10:32

And it's fascinating too because you're, you know, completely on the spot too about, you know, hey, let's have a bunch of 30 year olds playing 20 year olds. And that's what everyone wants. Just a bunch of Very Hot 902.

David A. Weiner: 00:10:41

We also got used to like, listen, we all saw Greece. You know, those were teens who were left back by like 10, 15 years in high school and they, they never graduated.

Cody: 00:10:51

Yeah, but what I'm thinking too is the advancement of special effects during that period because Tales from the Crypt has a lot of like in camera effects. There's a lot of obviously the Crypt Keeper puppet and all that.

And just a few years later, Robert Rodriguez is out there and all of his aliens are cgi. Everything he's doing in the faculty is primarily cgi.

There are obviously some practical effects still mixed in there, like severed hands and fingers and all that.

But it's amazing how fast everything advanced in the realm of horror and the amount of doors that opened and unfortunately the amount of very, very bad CGI we got in the meantime.

David A. Weiner: 00:11:22

It's interesting, you know, Robert Kurtzman, who did the. Robert Kurtzman wrote the, the treatment and the story for From Dusk till Dawn.

And you know, he was a very, he is a very well known effects guy and he worked on the faculty doing the effects on that. And he was telling me that the, you know, spoiler alert. Not like anyone wouldn't know, you know, there's a big monster at the end.

We just, just put it that way. That is a combination of, of practical effects and cg. But there are shots where it is a giant mechanical monster that cost a lot of money to make.

the first half of the DOC in: 1990

This sort of uneasy transition from balancing practical effects to all of a sudden every producer wants digital cg, especially after Jurassic Park. But they couldn't or wouldn't spend the money or they couldn't afford ILM to do the work.

And so that's why you have a lot of half baked CG during that era.

Lastly, I'll say about that in terms of CG though is I kind of look back on it because I've been spending so much quality time in the 90s watching horror movies. It's like a time capsule of an era where there was a new technology going through baby steps.

And even though it looks incredibly fake, you just have to understand that for the time period, it didn't always look fake. It actually was something people hadn't seen like say Morphing and Sleepwalkers. You know, it was very, very cool. You know, morphing and T2.

If you watch that stuff now, you're like, oh gosh, that's clunky. But back then people were, wow. And it's kind of like looking back prior to that to you know, say stop motion animation, you know, by Ray Harryhausen.

We all watch that now and we don't say, oh God, that's so fake. You say, well, no, it's a product of its era.

If anything, it's quite precious to look at how much artistry went into creating these creatures that had personality when it's clearly stop motion animation.

Mike: 00:13:33

You know, there's a 90s slasher I've been obsessed with for years, Sleep Stalker, which I show Jamie not that long ago.

And I find it very quaint because it's filled with really half baked CGI effects, but they're done so with so much confidence that it's kind of adorable and kind of almost endearing to the overall tone of the movie, which is both this kind of ridiculous supernatural slasher with a guy who turns into sand Essentially. And then these really just bad morphing effects that are, you know, don't look like they're there at all.

And then there's mixed with also kind of like hackneyed practical effects because they couldn't quite figure out how to do sand practically.

And it just, it just gives this very strange middle of the road vibe between what is what would soon become be modern moviemaking and then what was schlocky 80s moviemaking smashed together. And there's a lot of that stuff in the 90s, and it's. I just find it very quaint and now kind of like, look back on.

Mike: 00:14:42

It's not underappreciated. Like, they're all like lost gems that we should all look back. Look back upon because Sleep Stalker is Sleep Stalker.

But there's a lot there that is appreciative.

David A. Weiner: 00:14:53

Well, at the end of the day, you know, especially as horror fans, I think we look back at these things and you say, why was this fun for me? You know, this reminds me, you know, like, I could watch Howard the Duck now, which, you know, everyone has their.

They roll their eyes when you say Howard the Duck. You know, Howard the duck from 86 and. But it's an absolute amazing, insane time capsule of the 80s, you know, from.

From Leah Thompson's hair and shoulder pads to the extremely questionable love relationship that I love.

Jamie: 00:15:28

If he has a music video, it.

David A. Weiner: 00:15:30

Had a signature song going through, going through his. His wallet and finding a duck condom. And Howard, you know, it's just like, this is a movie for kids, but they tried to have it both ways.

So my point is that I think when you look back at these things, as long as you kind of appreciate it for what it is, I think they all, all these movies speak to us for different reasons. And they can't all be amazing and great. There are plenty of amazing, great movies.

So the ones that are imperfect, they speak to us for personal reasons.

Whether it was, you know, we saw this movie when mom and dad were asleep and we snuck it and we saw boobs and, you know, or gore that we shouldn't, that we weren't allowed to see, you know, or, you know, things were kind of crappy at school, but you got to hang out with your cousin who always made you laugh, and he showed you this movie. All these movies are less about the movies and more about who you were during that time period where you were.

Where you were in your life, you know, and the sense memory of popping it in, saying, oh, my gosh, I forgot how dopey this is. I love it.

Cody: 00:16:29

So it's a little funny to me because you mentioned sleepwalkers just a minute ago, and that was another one. I saw Resaw just last week. And yeah, you have that reaction to it, like, oh, man, this morph effect is a little silly.

d you stop and think, this is: 1992

So, yeah, you do have to appreciate the fact that they're trying stuff out.

David A. Weiner: 00:16:55

And talk about, again, questionable content. You know, you have incestuous relationship. You have, you know, death by corn on cob. By corn cob. Exactly. Yes. Great minds think alike.

Cody: 00:17:07

Yep. But it's got Ron Perlman, so no matter what, that evens out, like, half.

David A. Weiner: 00:17:11

Right. It's got some Enya music in the.

Cody: 00:17:14

Beginning, I think, in the credits, too, doesn't it? I can't remember anymore. Yeah.

s, versus the: 2000

David A. Weiner: 00:17:35

It's ebb and flow. It's ebb and flow. You know, he gets really popular, and all of a sudden everyone wants more Stephen King.

And you have a good batch of Run or of Stephen King movies, and then they stumble and they get really bad, and then it all comes back again a couple of years later where one good one, you know, sets the whole thing running again. You know, the tail end of the 90s. He. His name was kind of mud, you know, when it came to movie adaptations. Not.

Not as, you know, of course, we're talking about his. Not his writing, but his movies. And, you know, the rage Carry, too. You know, that's. That's a. It's. I don't know if you guys.

Cody: 00:18:16

It's got a reputation.

David A. Weiner: 00:18:18

It's what it's. But it's. Yeah, it's. Well, it's like a Pet Sematary 2 adaptation. It's basically just taking the characters and.

Or situations and just evolving it where he has nothing to do with it, but people want to slap the name Stephen King on it. But that movie, if it really wasn't about Carrie, it's actually a really, really well done film.

And again, it's kind of a good time capsule of the late 90s in terms of high school sexual politics and angst and fitting in and being the outsider. But it also is, of course, hitches its ride to Telekinesis and Carrie. But you've got Sue Snell in it. You've got Amy Irving in it as well.

And so it's actually really interesting for a revisit, or if you've never seen it, you should just check it out. But what's cool about it also, arguably, or not so cool, is the fact that that movie. So I got to talk to Emily Bergle, who plays the lead in.

You know, she plays the Carrie Telekinesis character, Rachel. But she. She said that they started making that movie and they pulled the plug on it because the studio said teens don't want to see horror movies.

So we're just. They got it going, and then they changed their mind and they literally canceled it.

And then not too long after that Scream came out, and all of a sudden, the studio, like, is.

Cody: 00:19:38

You can hear everyone in the studio smacking their fortnites.

David A. Weiner: 00:19:41

And they got everyone back on. They fired the entire. They fired everybody. And they pretty much rewrote it and brought in an entire. They screamed. They screamified it, basically.

But, yeah, you know, Stephen King, I think, notably, he was sort of king of the miniseries during the 90s, really, and the movies weren't doing so well by the mid-90s. You know, yes, there are the langoliers and things like that, but, you know, the Stand and it were huge. You know, he did Tommyknockers.

These were giant.

Jamie: 00:20:11

You know, Storm of the Century was appointment Television for America when that came out.

David A. Weiner: 00:20:16

And he hated the Shining.

He didn't like Stanley Kubrick's the Shining because it was a very personal book to him and Stanley Kubrick, he even wrote a couple scripts for Kubrick. And Kubrick said, nah, I'm just going to do my. I'm going to be Kubrick and. Or Kubrick, depending on who you are.

But fundamentally, he just said, you know what? I. They were like, what do you want to do after. After the Stand did really well.

And he's like, you know, I'm going to do the Shining my way and just write it and get McGarris to make it. And they did. And so we have McGarris talking about that and also the star of that, Stephen Weber, talking about that experience.

And so that's really cool in the documentary.

Cody: 00:20:56

And that one just fascinates me because the opinion on the original Shining has shifted so much over time. It makes a lot of sense they would try and reboot it back in the 90s.

Whereas if you suggested it now, you know, there were people that got upset about the idea of them doing a sequel in Doctor Sleep, even though it's based on a king story.

David A. Weiner: 00:21:11

Yeah, yeah, It's. It's. Well, doctor Sleep had also. I love doctor Sleep. I really liked it. And. And Mike Flanagan, I think, can do no wrong. He does, really.

He's really great. Yeah. And he's. I'm going to just. I'm just going to name, drop it whenever I can. So Mike Flanagan's in my documentary too, and he's great.

Cody: 00:21:27

But I'd start with that. I'd be bragging about that all week long.

David A. Weiner: 00:21:30

Yeah. And by the way, Life of Chuck, if you haven't seen it, is phenomenal. I'm dying to. It's so good.

But I had a point and I lost it because I got enamored talking about Mike Flanagan.

Cody: 00:21:42

But we're all sitting here thinking about Hush. It's understandable.

David A. Weiner: 00:21:45

Yeah. What was I talking about? Why is this important?

Cody: 00:21:49

Dr. Sleep.

David A. Weiner: 00:21:51

Thank you very much. Thank you. Yeah. Dr. Sleep, people did not understand that because they didn't, you know, if you're a King fan, you know that it was an adaptation.

But the average Joe did not realize that that was a follow up to the Shining because of the title and the. And the, the. The marketing was pretty awful and they put that out in November after the. The best time that would have been in October to put it out.

So, you know, I think it's worth checking out because I think it's a really great movie.

Cody: 00:22:19

I'd really recommend the director's cut of it as well.

I enjoyed the theatrical, but I think going the extra length, put that extra, whatever it is, 15, 20 minutes into it and kind of doing the chapter breaks really makes that movie sing.

David A. Weiner: 00:22:30

But what's interesting, I think mostly just from the perspective of the fact that Stephen King didn't like Kubrick's the Shining. This is an adaptation of his book, but it also brings in Kubrick's the Shining.

Cody: 00:22:45

Yeah. I don't know what kind of witchcraft Flanagan had to do to make all that weave together and make everyone happy.

David A. Weiner: 00:22:50

But he pulls it off.

Cody: 00:22:52

Some fancy dancing. It's amazing that he actually got that to work.

David A. Weiner: 00:22:55

Yeah. The last I'll say about in front.

Jamie: 00:22:57

Of King and said, you're going to watch this and you're going to like it. And he did.

David A. Weiner: 00:23:00

He might have done that. But I do want to say that, you know, the Shining Suffered from comparisons.

But ultimately, if you take it on its own merits, the Shining miniseries came out in, I think, 97. It's really, really, really good. But it's a slow burn. It's very different. And you have to sort of take it on its own merits.

And I think it's still, it's well done and it gives these characters the time they deserve. And I think that's probably the most important takeaway from it.

Cody: 00:23:27

And what I appreciate about all those miniseries was they were broken into two, three parts, whatever, which makes it way more digestible. I'm not a huge binge movie kind of guy, so for me it works great.

I can watch the first half, take a break, come back an hour later if I want, like intermission or the.

David A. Weiner: 00:23:41

Next day it will too. It was number one in the ratings for both of the nights.

Cody: 00:23:47

Well, I think the miniseries were doing great for King until they got to Rose Red. And even that, the first chunk of it, I think did very well.

David A. Weiner: 00:23:54

I do not understand why the Langoliers wasn't bigger, but, you know, it's a confusing world.

Mike: 00:24:00

Yeah, langoliers so much as a kid.

David A. Weiner: 00:24:03

Did you really well, so. So you've got a. A personal connection to it. So the, the goofy, you know, the goofy critters, Pac man munching things, eating the plane.

That really did not work well with cg, you know, that's what people remember. But there's more to it, you know.

Cody: 00:24:19

So to backtrack out of the Stephen King stuff, we probably dug enough of a deep hole.

David A. Weiner: 00:24:24

We'll be here all night.

Cody: 00:24:25

That's it. Yeah. We've only got so much time here.

One thing I wanted to ask, though was when you're assembling the list of movies to cover, theoretically, you know, you're trying to. This is a two parter and you're just trying to cover everything from the first five years and that'll be that.

I'm sure you have to cut some movies out and there's a process of deciding, okay, is this one on the bubble? Is this one going to have enough eyes to make it worthwhile? Can we get good talent for it? What are the criteria you were using to select the films?

David A. Weiner: 00:24:48

It's a good question because it sort of evolved over the first three documentaries that I did.

You know, I was kind of raked over the coals for the first In Search of Darkness, which when I made it, I thought was going to be the only In Search of Darkness.

And the thing is, tackling the 80s where there's hundreds and hundreds and hundreds of movies, even into the thousands, arguably, depending on how you categorize things. I needed to. I needed to wrangle that in some digestible form.

And so I made a very tough decision for me as a completist and B, as a horror fan, to just do North American movies. Because I figured that's just the most digestible way of approaching this. And afterwards, you open later on, if.

Cody: 00:25:30

You ever want to do a whole In Search of International movies, then, you.

David A. Weiner: 00:25:34

Know, this was a Kickstarter. This was a crowdfunded documentary that was supposed to be 2 hours and 3 hours if we reached our stretch goal.

But the thing is, there's so much material to cover, I figured that was just the best way to go about it. And a lot of people responded positively. But there were plenty of people who just said, oh, it's American centric.

And you know, where's all, where's the fauci? You know, all this, all the million other cultures that got in search of Japan. I'm like, Cronenberg's a foreigner, he was in there. But that's true.

Cody: 00:26:07

Yeah, all the Canadian films.

David A. Weiner: 00:26:08

Yeah, that's why I say North American versus just, you know, American. But it's ultimately what I learned over the course of making the second one where I did a lot more international stuff.

I did a whole chapter focusing on Italian and horror and stuff like that. People responded very positively to that.

And people seem to want more and more of the straight to video, bottom of the barrel, quote unquote, types of movies that I wasn't sure if people were interested in or not. I mean, plenty people are. But I think the horror fans really wanted, the hardcore horror fans really wanted.

They were like, I need something to help curate my own list. You know, I want to discover stuff that I did not know even existed or I've never seen.

And so when I did sort of a hybrid for in search of darkness 3 still in the 80s, that was a whole spectrum of studio films to indie films, to backyard shot on video films, including things from Canada. Oh boy, you know, people responded really positively to that.

So that's kind of been the alchemy that I've been using, you know, when I say ever since, it's two more documentaries, the 90s, part one and part two. But I find people really respond to the fact that there's a broad spectrum. But like you said, a lot of it comes down to I struggle with this.

You know, I stay up at night because it's just like, well, this is Everyone knows this, so they expect it, you know, but then again, well, maybe it's too obvious because everyone knows it. What is new that I could bring to the table? But yet, then again, if I don't do it, they're like, how. Of all movies, how could they.

How dare you Leave that out. Boy, what a glaring omission, you know, on letterboxd.

Cody: 00:27:51

Yeah. If I was in your shoes, man, if I had to do army of Darkness, it'd be a dream.

But what am I gonna ask Bruce Campbell about Army of Darkness that he hasn't been asked 50,000 times in the last two years?

David A. Weiner: 00:28:02

Well, I reached out to Bruce Campbell, and Bruce Campbell politely said, I don't want to talk about this because I'm talked out about. Talked out.

Cody: 00:28:09

Yeah. So many times about all these things. It would be tough to find a new angle. So I sympathize.

David A. Weiner: 00:28:15

Yeah, well, the. I could tell you the angle that I found.

You know, first of all, I talked with Ted Ramey, and so he provided some interesting insight in terms of, you know, he played multiple characters, and he, you know, he and Bruce would.

They felt like they were kids, you know, in their basement doing all the voices in the looping afterwards, you know, talk to Robert Kurtzman, who worked on the effects with that, and he just said they were like kids in a candy store blowing things up and having the greatest time ever. And I talked to Alex Winter. Alex Winter, who's friends with Sam Raimi and is a huge Sam Raimi fan.

And he just told me what it was like to hang out on the set and be a fly on the wall for that kind of stuff. And so for me, I was just like, good, now I can bring some perspectives that people don't normally see to this and make it interesting.

I even got the Candyman director. He did a cameo on that as well. Yeah, he's. He's. He's. He's. He's one of the. He told me he's lying. You know, I've one line.

I'm one of the guards, you know? You know, and so, you know, it's fun being able to wonder, how am I going to approach this? That's different.

And then getting these wonderful, you know, serendipitous kind of, oh, yeah, I was there. I. Oh, I saw this. Or, oh, I. You know, I was rejected for it.

You know, like, I talked to Ernest Dickerson talking about Demon Knight and Death by Temptation and all the stuff that he's done as a cinematographer working with Spike Lee, you know, and direct as a director. And he's just like, oh yeah, you know, I, they asked me, they, I sat for a meeting for seven and the producers didn't know what to do with it.

And they said, what should we do with this? We don't know what to do with this. And he said, oh, this is a great script and you should do X, Y and Z. And they're like, oh, these are great ideas.

Thanks a lot. Thanks for coming in.

And he left this production meeting and, and the next day he gets a call from his agent and he said, you didn't get the job because you talked, you talked yourself out of it. And, and he's like, what? I talked, I gave him all these great ideas.

They're like, yeah, they're taking your ideas and they're saying they were going to throw this in the trash and they weren't going to do this. But they're like, wait, now we know how to crack the code. We'll get an A list director and we'll make this. Thanks, Ernest Dickerson.

So it's fun when you get these sit downs where you can really go down sort of tangents and rabbit holes and you get these, you know, hey, all right, you've talked about the movies that you worked on that you're here for. What else have you worked on? What projects did you try and get off the ground that you never got off the ground? But what was that like?

And you know, it's, it's an industry. People, directors and writers, they're auditioning just like actors are. Everyone's trying to get their next gig.

And so many people were part of a project that didn't quite get made. You know, Joe Dante was going to direct, you know, the Creature from the Black Lagoon remake.

John Carpenter was going to make the Creature from the Black Lagoon remake that has still yet to be made. But apparently James Wan is currently trying to get that one off the ground.

Cody: 00:31:24

Every five years somebody's going to do it. And I'm starting to lose hope.

David A. Weiner: 00:31:26

So I get to sit down with John Carpenter, I get to sit down with Sandy King Carpenter and she's just like, oh yeah, I'll tell you the whole story.

Cody: 00:31:34

That's really exciting to me because that's one, it's been kind of hinted at over the years. I remember there's a big hub up. I think last year someone was interviewing Carpenter and he had one of the preacher maquettes in the background.

David A. Weiner: 00:31:44

And I got to hold, freeze frame that. I got to hold on to that in my grubby little hands. And I got close ups of that.

And spoiler alert, that mech head makes a nice little cameo in the new In Search of Darkness.

Cody: 00:31:59

I can't wait to see that in high def. I'm. I'm going off a blurry, like, YouTube clip some guy made like a lunatic trying to prove conspiracy theory.

David A. Weiner: 00:32:06

Actually, if you go to my. I have a blog just for fun. It's called It Came from blog, so it came from blog.com.

if you go in there and you type in Creature from the Black Lagoon, I've got lots of close ups that'll spoil it for anyone who wants to get a good look at Rick Baker's design.

Cody: 00:32:21

Fantastic. Okay, interview's done. I got business.

David A. Weiner: 00:32:24

Right, right, right. You got it out of me.

Cody: 00:32:27

It was all one big ruse.

David A. Weiner: 00:32:28

Did I answer your question, though? You know, it's hard to choose these movies, but a lot of it has to do with who can I get? What do people probably want to see?

What surprises and eclectic choices can I make and what time do I have? Because if I want to include as many.

You know, there's some years where so many more horror movies really stole the spotlight and you can't put them all in. And so you don't want 100 movies.

Cody: 00:32:52

From 93, but none from 92.

David A. Weiner: 00:32:54

You know, 99, believe it or not, was like an insanely packed year. And I'm clocking in like 20 movies and I'm like, I can't. I can't do it again. It's mathematics. You know, you.

Regardless of what I ultimately choose, if I want to give each movie three, four, even five, even six minutes, because it deserves it, whatever the film is, and then I want to have a chapter in between that I want to give. At the very least, I want to give like 8 or 10 minutes or 12 minutes.

You put that together and you multiply that by, you know, 70 movies and you're flying towards six hours.

Cody: 00:33:29

So when you're putting these pieces together, obviously some of these have much bigger reputations than others. You know, everyone loves the Blair Witch Project.

Is it constraining to you when it's something with that much reverence in the fans to have to write and talk about and interview folks for? Or do you prefer the ones that are lesser known because maybe you've got a little more freedom to play with those?

David A. Weiner: 00:33:47

Yeah, there's a little less pressure on the ones that people haven't quite heard of because. But, you know, there is no rhyme or reason at the end of the day. When it comes to outreach for talent, who says yes and, and who doesn't.

There, there's the most famous people that you guys would, would know who say yes and then there's the completely non famous or they did that one movie that one time and they're like, they don't even respond.

You know, I mean there, there's some, you know, I, I don't want to name names now, but there's some straight to video gems that I'm like, oh, that's total cult favorite.

I, I gotta, how easy it's low hanging fruit to get the director of that one, you know, and they don't respond, you know, and multiple, multiple outreaches.

So I'm not here to complain about that, but it also kind of just informs what I'm ultimately doing because, you know, if there's, you know, we're Scream, you know, Scream is a big part of this, this, this latter half of the decade. And you know, if I can't get someone from Scream, at least someone, if I can't get at least the craft service guy from Scream, you know, I'm screwed.

You know, because people.

So fortunately I got Marco Beltrami, who's the composer at Scream, and I got Jamie Kennedy who gave a wonderful interview talking all about scream, scream 2, even scream 3. If you know anything about scream 2, scream 3 is an, is an interesting appearance and it's very, very cool.

And you know, for Urban Legend, I got to sit down with Rebecca Gayheart and she's in Scream 2. So I kind of get, you know, best of both worlds with having her talking about being Brenda Bates for Urban Legend.

Also got Michael Rosenbaum from Urban Legend. So it's very, very cool, you know, but there are other things where I'm just like, oh gosh, you know, I gotta get that one person.

And then you'd be very, maybe not surprised, but a lot of these folks, they, they're agents, they're representatives.

If I can't get some backdoor way of getting their attention, a lot of these folks are just like, oh, you know, this actor, they're only looking forward, they're not looking back. That's literally a quote that I got, you know, so it's like, oh, how do I do?

Cody: 00:35:58

But it looks like you've got a pretty good lineup of folks here besides everyone you've mentioned. I think one that's exciting to me is you're delving into the Wishmaster series a little bit. Yeah, I'm pumped to hear about that.

I'm kind of A late convert for that. Yeah. That seems like a fun interview.

David A. Weiner: 00:36:11

Yeah, I've got Andrew Deevoff, the Wishmaster himself. And of course, I keep on mentioning Robert Kurtzman. See, I could have just interviewed Robert Kurtzman.

And he's been in so many of these movies in terms of, you know, creative force behind it or doing the effects. It could just be an interview with him. He's really great. And of course, Ted Raimi's in it, too. You know, I can't get enough of.

Cody: 00:36:33

Ted Raimi, so that's exciting to me. He's even popping up in video games now. He's in the quarry recently, and I got all excited.

David A. Weiner: 00:36:38

But I have to say, Andrew Divoff was so cool. He's Andy. He's Andy to me. And Andy is super duper nice. And you know what Andy did? Andy Divoff, super, super, super, super, super nice guy.

He really cared about what he talked about and what he got to talk about. And he really enjoyed his time. He gave me a long time to talk with him. We talked. I can't even remember. Two plus hours. And.

And at the end, you know, he makes his own Wishmaster rings. He's an artist. He actually brought some of his paintings. He brought them with him. He's just like, oh, yeah, I did this. Thought I'd show it to you.

I'm like, oh, my gosh. You know, really, really cool. But he crafted his own ring that could be. It's a work of art. And it's the Wishmaster. And he said, you know what?

I'm going to give one to you. And I'm like, oh, no, no, that's really nice. No, no, I'm going to have it. I have to have it crafted, you know, from the mold, but so be patient.

But I'll send it to you in about a month. And he did.

Cody: 00:37:36

Wow. He has your soul now, unfortunately.

David A. Weiner: 00:37:39

You know, he mentioned that only after I opened the jewel box.

Cody: 00:37:44

Classic. Classic devil rule.

David A. Weiner: 00:37:46

Yeah. The little jewel, it sort of flashed. And next thing I knew, I was doing things that I. That were untoward.

Cody: 00:37:52

You're inside the lamp. All of a sudden, it's a whole mess.

Jamie: 00:37:55

I'm looking at your Wishmaster ring online now. I googled Wishmaster ring and immediately saw you.

David A. Weiner: 00:38:02

That's the one.

Jamie: 00:38:03

That is incredible.

David A. Weiner: 00:38:04

The good thing about getting stuck in the genie bottle was that Barbara Eden was there, and she was young.

Cody: 00:38:11

All right, well, this is starting to look up.

Mike: 00:38:12

I actually had a question because from just a little bit we've been talking about We've, we've had a lot of, oh, these are the Scream type movies that came out in the latter half of the 90s. And then we're talking about all of these other things that are very incongruous to one another.

You have Wishmaster, you have Sleepwalkers, you have the Stephen King miniseries. You have all these different tones and vibes. And there's nothing that feels overarching. Like you look at 80s, 80s horror movies.

Everything feels like, oh, that's an 80s horror movie. No matter what the tone is, no matter what the cast is, it feels like it belongs there. With 90s until they get to Scream.

Speaker E: 00:38:57

It felt like they were trying on.

Mike: 00:38:59

So many different hats, trying to decide what the vibe of 90s horror was supposed to be. And there, there are more, I would say, tones and sub genres, you could say in 90s horror.

I've always been kind of obsessed with 90s was very into Catholic horror throughout the entire decade, hardcore and those.

And that's something that people kind of overlook is like, oh, no, that, that was a tone that took place over the course of that, of that entire decade. Like that pre predated Scream and I predated this kind of getting here from.

David A. Weiner: 00:39:34

Exorcist 3 all the way to End of Days. It's bookended stigmata, all sorts of stuff.

Mike: 00:39:40

And so what, what is going, like going back and looking at all these 90s movies, what has been the surprise that's kind of jumped out at you? It goes like, oh, there's actually more thorough lines in this decade.

David A. Weiner: 00:39:53

Well, serial killers. Because I think in.

Well, you have Silence of the Lambs to thank for that because it won the Oscar and everyone said, oh, you can make a prestige serial killer movie. And that gives way to seven and a million other movies, the psychological thriller. But horror is horror.

If someone's getting stabbed or dismembered or.

Cody: 00:40:17

As a rule, because I had a whole college philosophy course about what is horror? And we could never decide and maybe it should have been that simple.

David A. Weiner: 00:40:23

Well, my through line for that is that if you put yourself in that situation, you would be absolutely frightened and you would have your own horror. You know, you'd be terrified.

And because of that, you know, there's lots of situations where horror, it doesn't have to be a horror movie, but there could be horror moments or situations.

And so I would say a through line is a lot of horror, a lot of serial killer movies, especially because that's also in the wake of, you know, Jeffrey Dahmer, you know, in the beginning of the decade, people were fascinated by how horrifying that was. And it was the real deal. And, you know, there's lots of stuff that's sort of parallel to that.

But moving on from serial killers, I think you're absolutely right. One of the things I really relished about doing dividing this into two parts is that 90 to 94 horror really was trying to find its footing.

It's trying to figure out its identity. And like, you could, you know, take any decade and say it was this, you know, Scream really does kind of steal the thunder.

So I liked having a whole five year stretch of not having to do Scream because then you could focus on all the.

All the different pathways that they were trying to figure out, you know, whether they were remaking horror movies, you know, bringing the classic characters back to life. You know, like Bram Stoker's Dracula, that did well. So it's Mary Shelley's Frankenstein. You know, you've got Jack Nicholson as Wolf. You know, it's.

You know, that was one thing.

treatments. But you also have: 1001

So let's have more. Let's kill Freddy and then let's have a Freddy rebirth.

Let's put Michael Myers on ice for a little bit and then bring him back for not only another sequel, but a complete retcon reboot and bring Jamie Lee Curtis back. Let's bring Pinhead on. Pinhead's on there through and through. And you've got Chucky. Chucky's just getting warmed up because Chucky came.

Child's Play came out in 88, but child's play two and three are in the beginning of the 90s. And then you have Bride of Chucky, which is pretty much Chucky goes meta and arguably the best Chucky movie.

So, I mean, there's a gazillion trends, but there's also other remakes. I mean, you've got the island of Dr. Murrow again, and it's a train wreck that is absolutely, absolutely watchable.

And no matter who you are, whether you like that movie or not, you can't not watch it because it's just. It's crazy, especially the story behind it. And there's A great documentary about the story behind it.

And David Gregory, who directed that, he's talking about that as well, which is cool for us. And Adam Marcus, who did Jason Goes to Hell. Jason was still doing his thing. They kind of put him to bed more for legal reasons than anything else.

It would be almost a decade before you would get Jason versus Freddy. But Anna Marcus is a great speaker, he's very entertaining.

And he's talked about how he's like, yeah, I'm in a very exclusive, distinguished club of people who directed Val Kilmer and survived.

And he's like, that's the movie where Val Kilmer felt like he was the reincarnation of Marlon Brando and told me that he felt Marlon Brando's soul go through him. I mean, it's ridiculous. You have the remake, you have Gus Van Sant. I mean, I'm now just a listicle now. You got the remake of Psycho.

Gus Van Sant, you, you won the Oscar. You could do anything you want. What do you want to do? I'm going to do Psycho shot for shot. You know, that's quite a choice.

And you know, success or failure.

It's very interesting to look at that 30 years on or almost 30 years on and see why those choices were made and how they resonate to this day because they did, you know, trail off in different directions even though it was the same movie. So it's interesting to get. One of my favorite pieces is having bunch of people talking about these, these two movies.

Two movies that I'm talking about, you know, Psycho and island of Dr. Moreau and sort of do a, you know, postmortem on these and the, the reasons why they're worth checking out.

Jamie: 00:44:50

From a top down view. How much of an influence did you find the upcoming millennium had on late 90s horror?

Because growing up at the time, it felt like Apocalypse Anxiety was at an all time.

Cody: 00:45:06

That's because you watch end of days 40 times.

David A. Weiner: 00:45:09

Yeah, well, I'm glad you brought that up because that permeated the whole second half of the 90s. And in real life too, things were very different. You know, there was sort of this.

The news, which we want to feel like is very different today in terms of the way they cover things. They went crazy and they tried to make us all think that we needed to create bunkers, you know, in our houses.

You know, when Y2K comes, the planes are going to be falling from the sky, all your money's going to be gone because the computers are, you know, they're not going to Be able to turn over. There was a genuine, if you lived during that time, there was a genuine anxiety, if not panic, you know, during that time.

And then, you know, the clock changed and we were like, is everything okay? Oh, everything's fine. It's all good. You know, spoiler alert.

But there was lots of, you know, you're talking about the religion that was in a lot of the movies. You know, you had, you had cults. You had, you know, David Koresh, you know, and Waco. You had the, you know, with the Branch Davidian.

You had Heaven's Gate cult, a very different type of cult, but they wanted to jump on hill bop and, you know, lose, leave Earth. I don't know if you know about any of these things, but there was a lot going on.

You know, the dynamic changed because there wasn't a war happening, a major war happening. So people are like, well, let's watch O.J. and let's watch Monica Lewinsky and oh, there's a lone wolf.

You know, you've got Columbine, you've got the Oklahoma bombing. There's a lot going on in the world.

Of course, you know, it's not like everything's on pause, but this all kind of feeds in, even along with all the information that we get. Because the Internet is now become common in the 90s.

Everyone's got AOL and all of a sudden you've got all these like, cyber thrillers, you know, you know, the Net starring Sandra Bullock. Or, you know, we got Strange Land, you know, with, with Dee Snider. I got to, I got to sit down with Dee Snider.

And he is a kick and he is so, so excited for that. So much energy. And he talks all about Strange Land, but he, you know, spoiler alert.

He talks about how he did his own research and he got on AOL and he just pretended he was, he was a young girl. And then he said, party. And he said party at my house. And he got these young girls to go, come say I want to go.

And he's just like, holy crap, I'm a 40 year old guy and I just lured a girl into my home. Figuratively, not literally.

Yeah, but I mean, but it gave him inspiration that this is something that could resonate, if not be like a cautionary tale. That's kind of what I'm getting at. It's, it's amazing. But all that stuff really kind of contributed to.

e millennium really starts in: 2001

But the whole fact that it's turning over to all the zeros are like the mileage counter are turning over and we don't have our flying cars.

And life isn't arguably better, it's maybe even a little worse from the corporate raiders of the 80s and trickle down economics that didn't trickle down. So what, what am I doing here? How is life going to get better and is it only going to get worse once this new millennium comes?

And you know, the films of the era reflected this anxiety, whether it was a conscious or subconscious thing.

Cody: 00:48:26

I think just one more question for you before we let you go and this time to look towards the future.

Considering how many studio discs come out now or digital releases come out now with kind of just PR fluff pieces for special features or nothing at all, you know, you're lucky to get a commentary track. Do you see what you're doing? Long form documentaries kind of being the replacement for that.

Do you think there's going to be more of an audience for things like In Search of Darkness moving forward?

David A. Weiner: 00:48:52

Yeah, well, that's relevant also to the fact that DVDs were brand new, you know, at the end of the 90s and you know, blockbuster. I think in 99 they started adopting DVDs and stuff like that. And if you remember, you had all these amazing.

You get the director's commentary but you have all these amazing bonus features that, like you said, it's really hard to come by these days.

And so I see these documentaries, if anything, as kind of not only a celebration of an era, but a bit of a time capsule of the people who are part of it.

But I think for people looking to curate their list, so to speak, for letterboxd and just for what they want to watch, it helps to have movie documentaries like this and other documentaries similar to it to help them decide what to watch and why they should watch it. But I've an unexpected byproduct of making these movies is that people have been telling me that they should be taught in college classes.

I had someone this past summer who interviewed me because he's in London in film school and he did a whole, his thesis on elevated horror and he wanted to talk to me about my mill, my documentary and how the 80s led up to and helped create the foundation to contemporary elevated horror. And I'm like, oh gosh, I'm like in a thesis now, you know, you.

Cody: 00:50:17

Know, it seems pretty cool.

David A. Weiner: 00:50:18

And I, and I've been asked by, by some, some professors as well. To talk to their classes and give talks as well.

And, gosh, I never thought I was the person who that, you know, I never made these documentaries with that intention, but it really makes me happy that they think these documentaries, whatever you may ultimately think about it, you know, deep or not, they definitely capture a mood, a vibe, a sense of film school, a sense of cultural conversation. And. And they're. They move fast and they're entertaining and they're. They're amazing clip shows. And. And they're long.

And at the end of the day, I think people will rely on them to a certain degree to help them digest and understand what a whole decade of filmmaking for a particular genre is like. And that's the ultimate compliment for all of us who work so hard on these documentaries.

Cody: 00:51:14

Yeah, I just remember as a kid putting on Bravo's 100 scariest movie moments and discovering the whole genre through that. And I think the entire in search of whatever you want to call it, franchise or series, whatever, could be something like that for new kids.

Like, they could find out about all of the genre, all the social things happening through the 90s, 80s, whatever, through these. So I think it's just really exciting, you know, younger audiences to be able to go through all of this for the first time.

David A. Weiner: 00:51:40

Yeah. Thank you. Yeah. I mean, you know, people have been saying, gosh, you know, I just did not know any of these movies were.

You know, this is younger folks. You know, I didn't know any of these movies were here with some of my favorite actors when they were young. Cough, cough.

And, you know, ultimately, if I can enlighten anyone, you know, it's like, Tom Savini, he's just like. People say, oh, I don't want to watch that movie. It's old. He's like, well, it's not old if you haven't seen it. It's new, you know, and.

And I think people of any age should adopt that ethos. And I guess lastly and relative to that is that, you know, we shouldn't gatekeep. We should.

We should help people say rather than saying, oh, you haven't seen that. You know, think about a young person today with there's so much, so many titles, so many famous things that you, quote, unquote, have to see.

They don't know where to start.

And, and so many of these things, whether it's, you know, all the Halloween movies or all the Star wars movies or all the Transformers movies, whatever it is, they, they. They. They're paralyzed, some of them, because they don't Know where to start. They're like, well, I'm supposed to watch it in a certain order.

Or, you know, I don't know which one is the best one to watch first, especially with Star wars, because do I start with the first one? But the first, the fourth one came out first.

Cody: 00:52:57

The first first or the second first? Which first?

David A. Weiner: 00:52:59

They get so confused, you know. And so I think a documentary like this is helpful to give people some sort of direction and a compass to navigate all this amazing stuff.

And when they get to it, they get to it. And if they haven't seen it, you know, don't shame them not saying you guys do. But, you know, people do.

Speaker E: 00:53:18

You.

David A. Weiner: 00:53:18

You know how it is. People do that.

Cody: 00:53:20

And so people get that attitude. I've seen it and you haven't. I'm better than you.

David A. Weiner: 00:53:24

Yeah, you should be ridiculous.

Cody: 00:53:25

It should be an exciting thing. You get to celebrate because that person gets to watch it for the first time.

And maybe you get to watch it with them and kind of soak up some of that enjoyment, kind of.

David A. Weiner: 00:53:33

Well, it's like, you know, I have a kid and, you know, reliving childhood again vicariously, you know, except I happen to be in a different adult this time, or at least in an adult body.

But, yeah, you know, just totally be enthusiastic and encouraging for all this stuff for people and just say, you know, let me know what you think when you got out of it. You know, you'd be surprised at the. You know, that. I mean, I'm seeing. I'm totally getting tangential here, but, you know, I'm seeing these.

These weird polls that. That say, you know, the younger generation is. Is. Is kind of shocked and, And. And they don't like the fact that there's so much sex in.

In these earlier movies. You know, they don't like sex in their movies as much. And I just think to myself, wow, what's happening here?

You know, that's a very interesting take on things because they don't connect with it. Whereas, you know, I grew up with a bunch of horn dogs who couldn't wait to get into Porky's too.

Cody: 00:54:28

But I think the excitement is still there. Like, I. I don't think they would turn down watching a lot of these films.

There might be different tastes and preferences and some things of age poorly, but all these movies are just exciting opportunities for kids to just see a whole history of the genre or they align.

David A. Weiner: 00:54:42

With characters that they're. They're. It's supposed to be the. The character that they connect with.

And they don't align with the character because their, their moral compass is different from what this character has. And they're just like, oh, I hated that character. And that character deserved what they got.

And they, they shouldn't have won at the end because of blank. You know, it's, it's very interesting to see how perception collectively has evolved, language has evolved, all sorts of things have evolved.

So if anything, I think looking back at these movies from the 80s, from the 90s, next up, I think I'm going to do the 70s, 70s horror. 70s in search of dark, the 70s. So it's a whole different set of rules for each decade really when you look back at it.

And it's kind of fun to tackle and create some perspective. Yeah.

Cody: 00:55:30

So I think we're pretty much out of time here. David, I just wanted to thank you so much for coming on here to talk to us for this folks at home.

If you want to get in on in search of darkness, 95 to 99, that's going on sale, I believe the Pre order starts October 7th. And that'll be running through Halloween, correct, David?

David A. Weiner: 00:55:47

That's correct. That's correct. And you know, it's short and sweet because the movie is done when I say done.

We're still kind of polishing it, but we still haven't done the end credits.

And that means you can get your name in the credits if you get, if you pre order it during this time and you get all sorts of other cool swag and, and, and if you missed the first 90s, you can get a two pack where you can get the, the whole 90s which is going to be 12 hours of 90s goodness. And if you missed the 80s trilogy, you can get one or all three of those.

That's 14 hours of celebration and amazing interviews and time capsule goodness. And so yeah, you know, we're an indie company called Creator VC.

Go to 90s horrordoc.com between now and Halloween at midnight, stroke of midnight and then we make and manufacture and distribute. You'll get a digital copy in December and then you'll get your Blu ray.

For those people who love to have a physical copy in their hands, who like to go through the video stores and actually hold a box in their hands and look at the front and back and decide you could have it on your shelf and you could have it with your name on it too. And you'll get that in, I think, January. So ultimately it's a word of mouth is very important, you know, for us to get to keep on doing this.

So you guys at Box Office Pulp, I really enjoyed talking to you guys last time. I really enjoyed talking to you guys today. I really appreciate your enthusiasm, but also helping to spread the word.

Cody: 00:57:18

Yeah, of course. The more Blu Rays I can get with my names in the credit, the happier I am.

David A. Weiner: 00:57:23

You give it to your grandchildren, you bequeath them and you say, I was in the movie next to John Carpenter. We had credits next to each other.

Cody: 00:57:34

They're just grandpa. We don't understand what to do with this donut. This metal donut thing you're handing me.

David A. Weiner: 00:57:40

There's the hologram version.

Cody: 00:57:44

Anyways, folks, definitely check that out. I believe we're going to have an affiliate link link in the description of the show. I'm putting that on you, Mike.

David A. Weiner: 00:57:50

Sorry, I'm jumping in also. And, you know, so you could, you could get all the information on. On our socials. We're actually 80s horror doc.

So at 80s horrordoc, for all the socials on, you know, Twitter X and Facebook and Instagram, where we've got a really, really cool new trailer that you could look at. And we're going to be showing some clips from the films as well. Plenty of opportunities to just, you know, jump on it while you can.

And when you go to 90s horrordoc.com, you get all the details on who's in it, when you get it, how it works, what's in the, you know, the documentary without too many spoilers. And, yeah, you know, your support is absolutely appreciated.

Cody: 00:58:27

Well, you heard it, folks. If you don't check it out, you're personally going to make Mike and Jamie cry. We're going to send pictures to your house of them weeping.

So

Mike: 00:58:36

I'll commit seppuku!

Cody: 00:58:39

All right, well, folks, you have until the 31st. Don't let us down. Or David, he's been so nice.

Cody: 00:58:46

Anyways, this has been Box Office Pulp. Thank you so much for listening. You can find more of us, whatever service you're currently listening to us on. I don't.

I shouldn't have to tell you how to find us on Spotify. You're already there. But you can find more episodes on box officepulp.com. thank you so much for listening. Thank you, David, so much for your time.

That's a wrap.

Mike: 00:59:09

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