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Nicky P: Alright, welcome one and all two. Another episode of We Came From Celluloid. I am Nicky P here as always, with the illustrious, the charming, the gracious. The most gracious, perhaps Mr. Brian Pritchard. How are we doing today, Brian?

Brian Pritchard: Oh, I'm good man. Thank you for asking. Thank you. It's been a, an adventurous, month.

August has been a month, you know, for sure. A lot's happened. Lot's happened. We're like a day or two away.

Nicky P: I feel like I've lived multiple lives in the past couple months myself. So

Brian Pritchard: Yeah, I mean, not, you know, as much as you want this stuff to be, uh. Evergreen, you know what I mean, in terms of, anybody should be able to stumble into a podcast and enjoy it regardless of, of what's going on in the world at the moment.

It's being recorded, but, um. I guess Ozzy passing was slightly before the beginning of August, but the idea that like in the a 30 day time span we lost Ozzy Osborne and Brent Hines, is devastating. You know, that this is in the same year where David Lynch passed, is. A weird thing to even wrap my head around in terms of, I mean, you know, Mastodon and Brett have been a really big deal to me in my adult life, in my 21st century life.

But, a Ozzy and David Lynch have been there since I was like a little kid, you know? And, uh. So, yeah, that, that, that's some dead heroes, buddy. Some dead heroes, added to the list. Well, I'll say

Nicky P: The, the world of rock has taken at least a, a good gut punch. And I would even say we can extend that to Mr.

Lynch because at least one song. Was inspired by Mr. Lynch. That I know of. I know a bunch, but yeah. What do you think of that? Think

Brian Pritchard: Pixies from the Pixies. What did they do? A cover of the, in, in heaven. Everything is fine or something. They sure did. Okay. Interesting.

Nicky P: I didn't know that. And it's pretty, pretty awesome.

Not and impartial to the Pixies, but it was a. It's de definitely a very Frank Black varia or variation of the track.

Brian Pritchard: I remember hearing on the same anthrax, like ep, I wanna say, I might be wrong on this detail. I know they were both anthrax. I remember anthrax having a, a sound clip that was from Blue Velvet, right?

That in one of their songs, suddenly it's the Dennis Hopper thing of him going. I can hear your fucking radio, your stupid shit, and it, which is a good sound clip for a song, you know, just with no context. And, they had a whole track called, black Lodge, right? Which is, a Twin Peaks thing and

Nicky P: Interesting.

Brian Pritchard: And, and it, it felt without being like super, super explicit beyond that name, which is very, very super explicit already, the song did seem to be a. About Laura Palmer, you know, as, many people were, were feeling that vibe in in the early nineties. It's crazy that, that there was a moment in time for something like that to really hit the zeitgeist in that way.

What, this is a weird jump to make maybe, but, um. What, what Twin Peaks being on the cover of Time Magazine reminds me of is, watching, I remember going to look for B 50 two's live concert footage once and finding some festival performance of theirs from like, Brazil, maybe something like that, but like.

Massive, massive, massive crowd. You know what I mean? Like people as far as the, I could see lined up to watch the B 50 twos, and this was like in a pre um. Love Shack era, as I recall. They, they were another band that experienced some tragedy. I'm embarrassed to admit, I, I don't remember the gentleman's name, but their, their lead guitar player had like, died early on, before they blew up big.

And they've got a couple of albums, one of 'em called Whammy that, that were like some of their early, just the shit's weird, you know? It's really, really weird. And the idea of watching them. Play to a festival size crowd in like 1984. And just going, man, what a fucking world where that many people were somehow on the same resonant frequency as the B 50 twos.

Right. And yeah, I feel the same way about Lynch that for even a moment, that much of the public consciousness was, um. Somehow, you know, tapping into that, that odd, that odd energy, it doesn't happen often, right? Where I, I feel like my weird tastes, break through to like mass appeal. You know, but e every once in a while things just, I mean,

Nicky P: Mass appeal usually makes me not like things.

So, you know, there's always that,

Brian Pritchard: Well, yeah, that, that it can certainly be a red flag, you know what I mean? Like, I, I don't wanna be a naysayer just for the sake of being a naysayer, but yeah, there, there's something to that. You know what I mean? That. I don't know what that, what that remain reminded me of.

And maybe in part, 'cause I re-watched it fairly recently. I've been, I've been cycling through, some Danny Boyle stuff. I really love 28 years later. I love his work anyway. I love Alex Garland. And not, not that they're always collaborating, but they've collaborated a bunch. So I've been cycling through both of their work.

But I watched Slum Dog Millionaire again, right. And that movie, I remember seeing like opening weekend in. 2008, I wanna say. It was, I saw it because it was the new Danny Boyle movie, right. I fucking saw Shallow Grave when it was a new release at Blockbuster. And I loved that movie. And so when Trainspotting came out, it was the new Danny Boyle movie, right.

And I followed his work. I watched, lifeless Ordinary. I saw him split up with you and McGregor and make the beach, which was kind of a mess, but, you know, millions. No, nobody saw, but that's a cool movie. Sunshine was amazing, right? Sunshine is a really, really cool movie. But yeah, it's. Slum Dog Millionaire.

I remember seeing and liking very much as just a new Danny Boyle movie. And then in the months that followed, it was suddenly like the, the talk of the town as far as, being like an Oscar con contender and did ultimately win best picture that year. And at the moment that it was under like, that sort of lens, I was, I, it, it was an immediate turnoff.

You know what I mean? That, that, like,

Nicky P: I, I, I don't know, like, that feeling, that feeling right there for you is, is exactly what I felt in the whole Jordan Peele get out moment. I'd watched the movie, thought it was pretty okay, and then all of a sudden. Like, it's not just some niche horror movie that I thought did something original.

This is now the second coming of Christ. And it's like, yeah, that doesn't, that doesn't sit well with me. Like it's, it's, it's a good movie. Can we just leave it at, it's a good movie. Not he's here to usher us into a new world.

Brian Pritchard: The only other thing I'd add is he did.

Some culturally poignant, interesting things to me, like I could say about Spike Lee that Spike Lee, no matter what, like I think I mentioned, I saw his new release, I saw Highest to Lowest, which is, the closest comparison in his body of work would be inside, man. And I say that because they're both fairly straightforward.

But really fucking solid. Like, but fairly straightforward, like almost genre pictures, right? But Spike Lee can never not be Spike Lee in terms of. Whether it's little Easter egg details, half of which I'm sure even go over my head, right? It's just sometimes I'll learn things from commentary tracks and bonus features where he is like, that poster on the wall or that shirt he's wearing is for the original, you know.

Negro league baseball team or whatever, and I'm going like, oh, okay. That's a, a little Easter egg he put in there. But no, he always works that stuff in And the, the, the comparison I was making Yes. With Jordan Peele right. Of, of saying, well, get out to me, definitely seemed. To be articulating, a black experience, a black cultural experience.

It's probably not the first time that I feel like I've seen black artists, filmmakers, storytellers, try to communicate details of that, but he did a really interesting job with it. As far as again, going, here's a really entertaining movie. But it's got this other stuff there that, I. The

Nicky P: Idea, it's weird, like, well, and I guess there therein lies, or my issue would be is that it was a mildly entertaining movie with a really interesting premise.

Like I'd already given it credit for like the racial stuff. It's said, oh, that's cool. Like I've never seen that type of voice in the movie. But the movie outside of that, I mean, it's not like it was crazy original. Beyond that. It's an escape movie with this one cool little twist that you only have if you use the racial lens.

And that, to me, it just didn't warrant like, you know, the, the critical praise I guess that I got. To me, the praise should have been. We need to watch this guy see what he does in the future as opposed to throw all of the money that's in Hollywood at this guy and let him do anything he wants at that point.

Brian Pritchard: Well, you know, while it was a debut film, certainly they had multiple. You know, years of that successful sketch comedy show. So he's, he's not exactly a new artistic voice that, that's an interesting thing. I mean, l Louis c K's movie never came out, and I don't mean poodie tag, right? I mean, the one that, that, that, I, I remember seeing trailers for that.

It was, uh. Something with fucking Daddy in the title, and I'm struggling to remember what it was. Right. But it had, Chloe Grace.

Nicky P: Oh, good God. It,

Brian Pritchard: That

Nicky P: Sounds like a bad idea, but

Brian Pritchard: I know it had hit girl in it and it had, John Malkovich in it, but, well, I guess he had already made Louie at that point too.

But in an alternate reality, that could have launched Louis in some new direction as, as a filmmaking voice. And if it had been critically acclaimed and beloved in o in an Oscar cont contender, then yeah, you sit there and go like, well, no, he'd already established a storytelling voice. I, I, I guess the idea that Jordan Peel's storytelling voice was kind of far off from this in a way, but, but get out was, was it's all satire.

Well,

Nicky P: And I'll give it to him even in, and even in that, even in that same world. Keegan did nothing of import. He's in so much stuff since like he and peels ended, but none of it's like, like ever reached critical acclaim. It's always like, oh look, Keegan's in this, this movie in this fun bit part. Or, oh, Keegan tried something and it's really bombing.

Like the things that he tended to be like, it looked like the leader of like, what was it, the Keanu movie that was just.

Brian Pritchard: Awful, awful. I, I quite liked the Keanu movie and they were both in that one. To be fair, that to me was like a key and Peel,

Nicky P: Was it actually that one I always just kind of took as being Keegan's thing, and I guess maybe it was the way that they promoted it, that I saw on my end.

No, they, they, they, they're both the leads of that movie together, for sure. Well, I was thinking more of like the, because it wasn't,

Brian Pritchard: Well, didn't Keegan direct that one? I don't think so, but maybe if something stands out in your mind as, as why that was more of a showpiece for him. Maybe I'm just forgetting something, but if, yeah, if you're listening,

Nicky P: Folks wanna tell me I'm an idiot, please feel free to tell me I'm an idiot.

We've wasted too many episodes on my, my Feelings at Jordan. Feel for the record.

Brian Pritchard: Well, 24 hours ago, coincidentally I did bring them up conversationally. So like it is, it is somewhat tying back into just, you know, we can't save all of our, our interactions for the microphone. And yes, I was sharing you that our own, Puma Thurman's own Connor Helldorfer, acknowledged having never seen any of them, which was a situation I was inclined.

To try and remedy. I, I, I like taking over stupid movies to watch at Connor's house. I like taking stuff over to make my friend laugh. And so I'll usually, I've brought over like streets of fire and the apple and like, you know, just like goofy stuff usually with a musical component to it. Um. Miami Connection, right?

All of those are, are hilarious, bad movies, but they also have strong musical ingredients. I haven't yet brought over, graffiti Bridge, but that's been on my mind. You know what

Nicky P: I mean? For sure. So I, I actually just introduced my daughter to a stupid, dumb movie with a musical bent. You know, happened to have been made with, you know, one of the dudes from Skinny Puppy, better known as Repo, the genetic opera.

Brian Pritchard: Oh boy. You know, if, if I seen any of it, it was a long time ago. I mean, that's sort of vaguely on, on my radar as a thing, and I don't, oh, I own it. Yeah. I don't know why it didn't grab me enough to. To see through. But yeah, something I, I have not seen that one.

Nicky P: Yeah. To me, I, I mean the movie was okay. It's not great.

It was interesting that someone managed to get a budget to take on a project like that, like that amazed me more than anything. At the time, my biggest fascination was that Paris Hilton's face fault fell off. And like watching horrible things happen to Paris Hilton on film was always a, a fun pastime of mine.

You know, house of Wax, he takes like four feet of pipe through the face. It was just, it was just how, how I enjoyed spending the early two thousands.

Brian Pritchard: So, I mean, there's one night in Paris on that list during, how of wax I remember bumming me out. That was one that she was in. And you know, it's, it's odd because.

I don't remember if we've talked about the idea, like moments where I can, I can be a real softy, for in, in ways that sometimes surprise me where I feel like I've watched a lot of grizzly shit that doesn't bother me. And then something like that Stupid House of Wax movie, there was some throwaway character who, um.

Was still alive inside his wax thing. And he was like at a piano, but he was trapped inside, inside the, the thing, you know what I mean? And I don't know why, but I remember just feeling so like bad for that character there. There's a type of, suffering, right? It's not just violence, it's cruelty and suffering that somehow, sometimes, um.

Flips an empathy switch. I, I fucking love the fact that I'm 42 and can still get, easily, easily swept up in the shit I'm watching. I fucking pray. I never lose that. I don't know who I'm praying to, but I ask you universe to please grit me a lifetime of, um. Continuing to be swept away by the things I watch.

You know what I mean? So, but, but that same quality does make me vulnerable to a moment of, having something really get under my skin. Like I can't watch the Rob Zombie movies. Like House of a Thousand Corp, or No, no, no, no, no. It's not that one that, that I had to turn off, even though that one was fucking up a bummer too.

But. The, the one where they're, they do like the home invasion at the hotel or whatever, fucking, whatever that next movie was he that he made, I had to turn off like a half hour in where I'm going. Okay. Hats off to this guy. He is a talented. Filmmaker who knows how to use this medium in a way that genuinely pushes my buttons, right?

Like his Halloween movies the same thing. There's just something so fucking gross and unpleasant about it. And so I don't like his shit, but I do think he's talented. But yeah, that one in particular, um. What's the fucking name of that one? A hell in the title, right? Devil's rejects. Devil's rejects. Yeah.

Yeah, yeah. Fuck that movie. And fuck him for making it is my fucking feeling on the subject.

Nicky P: It was my, my only complaint was it was really, really long. I wouldn't know because I fucking turned that gross shit off. Yeah. I was gonna, I was gonna say yeah, but you turned it off. The other thing I, I, I love House 1000 corpses.

I wish I got to see the original cut. Because if you follow the history of that movie, like it moved from studios like three or four different times before actually getting released and has huge, huge pieces of the movie on the cutting room floor for both time and content, and. Because of the era it happened in.

Like we don't get all that extra shit like we would now because it's all digital and whatnot. Like, it's literally like lost to time or, you know, and the destruction of celluloid, the actual film stock. But man, I, I would love to think of how good that movie could have been.

Brian Pritchard: The stuff that does and doesn't get, um.

Salvaged. I mean, I, I can, you know, some new release comes out. Even, even a movie I really dig, I'll usually watch the, the bonus features because I'm just super thorough when I buy something. You know what I mean about, I'm, I'm anal about like, knowing that, like, I watched all of it, you know what I mean? But like deleted scenes on new shit tend to have a, who gives a shit quality to it.

But, it's kind of a, a, a. A minor miracle to me when I get like an, a moment I've never seen from especially a movie I, from part of my young life, that, that I've seen a million times. Like, I don't think the 4K special edition of Young Guns had any deleted footage, but like that would be the sort of example.

I did see a, like a four hour cut of David Lynch's dune not long ago. And there was a bunch of extra shit in there. The part that really jumped out at me was 'cause it's definitely not in the theatrical cut, but they did it in the remake. There was a scene of them getting the, like, water of life out of these baby sand work.

And like the process that they used to do that. And he filmed and shot that scene for the 1984 cut. But it's not in the movie, but then it is in this four hour TV cut and, and, but yeah, I, I had never seen it or never noticed it at the very least. 'cause I, I, again, I'm pretty sure I've seen that, that extended cut at least once before.

But, there's, there's like an hour of extra footage, you know, there's a ton, a ton. And, and, and there there is stuff like that that I end up watching and, and going, yeah, this was made in a time, like there was something else I was watching recently too, where I ended up coming away going like, yeah, this would've been a better mini series than it was a movie.

But then the flip side of that is when something can. Get in and get out. I saw, and I don't even remember it that well. I just remember it gave me this impression. What the fuck was the name of it? Have you ever heard of State of Grace?

Nicky P: I heard of it. I'm not sure what it is even to think of it though.

It's, the name sounds familiar.

Brian Pritchard: You know, it was like, it was when I saw on the video shelves forever, and then I finally got around to watching it like 10 years ago and, and it was like, whoa, where the fuck has this movie been? And then it's been on my Amazon wishlist to like buy a copy and I, I haven't watched it since.

But one reason that that movie stands out to me is that I remember watching it and at the time. You know, we already had, shifted into this modern culture of the miniseries, like the long form storytelling, right? And, and whether it's Breaking Bad or you know, mad Men, game of Thrones, all the stuff that sort of moved us in that direction.

When a movie can still. Get in, get out and make me give a fuck in two hours or less, right? Where you're coming in going, I don't know who any of these people are, so it's not, it's not a remake. It's not a reboot, it's not a sequel. It's not anything. You're coming in fucking cold. If something can get you, get its hooks in.

Tell its story and then give you closure and get out. That used to be normal. Now it almost feels to me like the same feeling I would get from like a short story, right? Like. Like when I was more of a reader as a kid, I loved reading novels, but a good short story. You were sort of like, I was always really impressed by when a short story could be like just as good.

And when a movie anymore feels just as good as like a five. Season television show like, feels like just as satisfying of a meal. That shit really impresses me.

Nicky P: Absolutely. And it's, it's, it's weird to me. Like I said, today they go so over the top on length of films, like I do my yearly horror binge and I can't tell you like how many times.

Yeah, my issue, like there's always at least one check mark off for why is this movie this long? This was completely unnecessary. You cut out 20 minutes of this movie and you have an actual good movie. But now that I'm sitting here through 20 minutes of why is this here? The punch is all, it's completely gone and you're like.

Well, I guess I don't get that time back and, and it's almost like they're trying to make post two hour long movies a thing and force it on us when it's like, make it shorter, make more money to the box office. Squeeze an extra performance in during the week, you know, find to find a thing here.

Brian Pritchard: Yeah. I'm not sure what all the.

Because your it, to your point, it wouldn't be the studios pushing for it. So the idea that that the auteurs who are still playing that game, right, and really sitting there and saying, Nope, I'm a filmmaker. Right? And that is what I do and that's what I wanna do. I can kind of see some of those people.

There's stuff naturally veering longer. It, it's like what we were talking about with, Ari Astor, right? After going to see edington, that, that, that notion of going, I think sometimes these kinda wonder kins pop up on the scene and I appreciate a studio that recognizes. If we were the talent, we would be making the shit instead of giving you the money to make it right.

So like a, a smart studio on the one hand should know when to just invest in the talent and back away. Right. You know what I mean? But even like I've said about David Lynch, you know, like to me his. The film of his, I Enjoy the least, is Inland Empire, which is a three hour kind of mess of a film, because there was nobody there to reign any of it in.

And so that's a weird thing to, to say or feel about. Arguably my favorite, you know, filmmaker, right, is to say,

Nicky P: I have always required having somebody in a band. Like that is there to kind of import the Joe, every man point of view. Yeah, because if I got to follow my every indulgence with music, the other end gets to be a little much for everybody as far as like way too many layers, way too long, way too much going on, and nobody understands what the hell, like what is this?

What genres, what is any of this Like, this doesn't make any sense. So like I've always kind of relied on having somebody who's more of like a standard. Pop music aficionado. And not that I don't love that stuff and like I know a lot about it, but someone of it like understands writing that stuff more than I do, you know, to kind of reign things in.

So it's like I understand that about myself.

Brian Pritchard: Friction. Friction in the creative process, just like in fucking nature, you know what I mean? It's like you, you need. This shit rubbing together to create heat, to create activity. It's like you need resistance.

Nicky P: Do, do you know where ev, do you know where everything in nature grows?

Big, permaculture grow? Well, more importantly, the edges. It's where everything happens. Like you look at a forest, all the growth is on the edges. You look at a field, all the growth and like everything growing is on the edges. Like it's the change from one place to another is where everything like really starts popping off and becoming, you know, abundance.

So it's, it's interesting you say like, the friction, it's like, well, it's almost like the friction and, and like those areas is what causes like the abundance that you get there. The one thing I feel like I have to note is that like. It does seem to coincide with the age of digital film and like film not being, no sense of wasting film and capturing things that I think has allowed the indulgence that we get a lot of times out of our, of creatives, certainly in the film sphere.

And I think that's how you get missteps in particular, like, what was the. The Mar the one Marvel movie. They had that that great, great, filmmaker woman in and it, it was the, I remember it 'cause it was their favorite movie ever to make from Disney because it was the most multicultural movie ever made.

Kamal Ian

Brian Pritchard: Was, yeah, the Eternals, it was awful. It was that The Eternals is the name of that terrible movie.

Nicky P: Yeah, the Eternals. But like, part of the, a part of the issue was like. You are taking what should be an action movie, and it's just all these beautiful, beautiful, sweeping nature shots and cool stuff happening.

But like you get endlessly bored watching nothing but cool shots over and over again with nothing happening. It's like you need the story. And in that type of filmmaking, it certainly doesn't provide for the type of story you're expecting in that environment for sure. But it is it, to me, a lot of it is once again, leaning into the able for indulgence of having the ability to.

Not restrain yourself.

Brian Pritchard: The other thing I'm freaked out about sort of getting more and more of a sense that it's happening out there, are these movies that go full bore into production with no fucking script at all. Right? Harrison Ford I saw interviewed talking about. That Captain America Brave New World movie, which sucked.

And, and, he was talking about how it was like the first time that he had made a movie that had no shooting script, right? That, that like, they're literally just like inventing shit day by day, scene by scene. It's like, as if it's fucking curb your enthusiasm, right? It's like you, you don't make tent pole movies like that casually.

And expect any, like, I don't know. It's, it's the same, this, the more stuff is leaning into like chat GPT and stuff. It's like, listen man, if you don't care enough to create it, then why in the world do I care enough to consume it? You know? It's like, like it, it's just. Treating me as an audience member, like, you'll fucking eat up whatever bullshit we fucking give you.

And it's like, fuck you, dude. Well, except I did, I did go see it in theater, so I did buy it.

Nicky P: So, I mean, you're, I think you're gonna see a lot less of. All of that, just because like the, the economics of the world aren't in a place for that to happen. You know, where I come from, we talk about e easy, cheap money is how that happens.

And that's, low interest rates, things like that, that allow that to happen. Where like you can go and get loans without like. Having to show that you're capable of doing anything and like nothing, like there's never been a worse time for that. Like, or a more abundant time for them than like, say during the COO era where like they're just throwing money at anyone to make movies and don't even care about criteria because they were literally just throwing money around to make movies.

So economic downturns can only be in the positive for filmmaking. Frankly, because there's less money to go around to make crappy movies, I hope.

Brian Pritchard: Fair enough. So I saw weapons last night. Weapons was really cool. That was a big budget release. It, it, it's been playing on IMAX screens, so they spend enough money to shoot some of it on IMAX cameras.

Weapons was. Like the cinematic equivalent of, a page turner. You know what I mean? It was a good mystery. It was well told it, it, pacing was good. Could have cut probably 20 minutes out of it, but, uh. I think it, it was still, an essential, and I, and I mentioned that the context of that, and as it relates to what you were saying is, is that I, I do like continuing to see new filmmaking voices.

Even what I was saying about Danny Boyle, that's, that's still the game I play in music or, um. It, you know, in, in, in film is the idea of following somebody's work and going, cool, I like this. What, what did they make before and what are they gonna make next? And every once in a while you get these things where one artist you love.

Another artist you love start making stuff together and, you know what I mean? It's, it's neat, but I I I, I think that the world is never gonna stop. Like, I, I had a thought about the creative, vacuum. You know, like when somebody leaves, a company they work for, for example. If you've ever worked for a, a, a place that had a bunch of employees, like sometimes a, a critical worker can leave and create like a power vacuum that like needs to be filled.

Like, and it's not always as simple as just, well put a new person in that seat. Sometimes you just sort of see the ways that like other people. Take on aspects of the missing person's world, right? And so whether it is Ozzy, whether it is Brent, whether it is David Lynch, I'll go, I'll go mystical with it a little bit, right?

If. Say that I, I, I, I kind of, I, I like the idea that Algaes Huxley presented of, mind at large, if you know that theory, the sort of like we are one consciousness of it all. Right? And, and like if you think of. There's just one big brain, you know? And from that one big brain, you're splitting off into all these bodies, you know?

And as much as we have our own separate experiences, we are of course, connected to each other and we have some information that passes amongst each other, all of which is to

Nicky P: Say at a moment. It's interesting that you're attributing that to Huxley as opposed to the guy he pulled it from.

Brian Pritchard: I read the book a long time ago, but, but, that's certainly where I, I was exposed to it.

But ultimately that the, the power vacuum that without Ozzy, without Brent Hines, without David Lynch, that create, that creative void needs to be filled up and. That to me takes some of the sadness and tragedy out because there's some excitement in that. That's the growth on the edges. You know what I'm saying?

That like, it's, it's like a, a, a, a crack opens up, you know what I mean? And, and in. New things need to come into that space to fill it. And so a world without David Lynch, when I see a movie like Weapons, it's not like I'm sitting there going, aha, the New Lynch. It's not that. You know what I mean? I don't mean like, it's not some one-to-one comparison thing, but there is a sense of going, okay, there's a fucking vacancy at the end, right?

There's a vacancy for. Creative voices now to step up that I adore Martin Scorsese. It will be a fucking tragedy when, when he passes, but it also creates room. You know what I mean? Like the loss of people creates room for. Something new to come in. So, I don't know, man. I don't know whether it's, whether it's old age or tragic circumstances, there's something kind of natural to, that thing too where, yeah, people die, new people are born, things leave.

Things come in. I don't know. I don't know.

Nicky P: I will, I will be giving this exact same speech the day Terry Gilliam passes. I'll say that.

Brian Pritchard: Yeah. And, and yes, there is a void. There's a void. There's a, a void that he would leave as well. But, but, but I'm excited. I'm excited to think about some artist, or artists that you and I haven't heard of yet.

They're out there right now, you know what I mean? Um.

Nicky P: There are people alive. I discover new bands all the time. Boss, like I, I, Spotify and YouTube are good to me. I'm constantly finding new artists. I like that. Nobody else knows.

Brian Pritchard: No. But even, even like, like I'll, I'll, I'll put it this way, there's a little kid out there, age 10 who's gonna make a movie that I fucking love in 20 years, you know what I mean?

Like, I don't know what he's doing right now. Right. Or she or whoever. Right. But like. My sister used to live in, um. Asheville, North Carolina, and she used to talk about running into Andy McDowell sometimes at the, grocery store out there, or at least new people who did. Right. Because Andy McDowell lived out there.

And so she was visible enough in the community, but at the moment you've got her daughter, Margaret Qually is like a kind of a big star, a a, a burgeoning star. And, and so I had that thought of going like. Shit. I did not know that that was her daughter. Oh, yeah, yeah, yeah, yeah. And, and so I'm thinking in my head of going,

Nicky P: That ex, that explains a few things for me.

Brian Pritchard: It explains the, the, the gap in her, in her teeth for that, that cute little smile.

Nicky P: Well, I, I, I know what's funny is I watched Hudson Hawk just the other day, so I'm all in like Andy McDowell land already.

Brian Pritchard: I just got the, special edition of Hudson Hawk. I'm, I'm. Couldn't be more excited to, to pop in that new Blu-ray.

I think there are finally bonus features. Well, actually there's been a commentary track for years that's, that's, the guy that, wrote and directed Heather's. I'm, I'm telling you this, like, you know, I imagine, you know, that, you know, uh,

Nicky P: It was his follow up. I did not actually ever put that together, but that's, that's funny that like.

We be the, both of those movies are the same guy. That's fun.

Brian Pritchard: Well, and, and in a way, you can sort of see how his weird auteur voice is in there. It just got, you know, Willis got, got, got smirked all over by, by Sweet, sweet Bruce.

Nicky P: It's, and I'm be honest, it's a cartoon nature of that movie is part of why I love it so much.

Just the idea. The idea of like old school Catnappers and you know, Danny Aiello, they're singing songs as they steal shit. It's like, it's just so, so fun. It's so wholesome almost,

Brian Pritchard: Dude. The, the show Legion, the FX Show Legion. Have you seen that one? No, I, I've seen of it. I'm, I'm, I'm in the middle of season two at the moment, or fairly early on in it, but, they absolutely had a sequence of, people moving through a hallway to, swinging on a star.

You know what I mean? Where I'm going like. Okay. Like, yeah, and, and I wouldn't assume they expect the vast majority of people to know it, but in my heart of hearts, I'm going. Whoever made that decision fucking, you know, knows

Nicky P: Some Hudson Hawk, right? To talk to bring things back. Full circle to Band Talk is as we all get done and with you saying, look, you're ready to step into the shoes and be the next thing that takes over after Ozzy and Brent, you are going to pick up the mantle is what I got from that whole thing.

I was, putting myself in that spot. Well, that's what I got out of it. You're, you're just saying I'm the one that's gonna take over for this next generation. Um. But I'm thinking in particular about our song 1212, that like the moment I heard, 12, 12, I, I know and I'm gonna bury it in the album cut one freaking way or the other.

There is a section where the only thing I can hear in my head is literally the like end of the chorus of knights and white satin. That I'm act absolutely. Going to cut a clip of and bury in the mix somewhere, just so I know it's there. It's a, some dude's gonna go, oh my God. Is that what I think? It's, that's what I think it's, I, I, I love a good Easter egg.

I love it. Yeah. Easter eggs are the best. So anyways, folks. We're no more Easter, Easter eggs today. 'cause we are out time because I just mixed one of our almost hour long episodes and I don't have time for that crap anymore. Boss man. We're even too long-winded for me to wanna deal with. Understood. Lets you feel.

But we're hoping you enjoy our, our little meanderings and we will, we will be back. Thank you so much for listening. Take care.