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[Music]

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hi Jim here and you're listening to the

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honest filmmaker podcast career advice

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from people in the business this week

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I'm speaking to Paul maoy from the

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horror film festival frightfest

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frightfest is one of the biggest horror

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festivals out there and is celebrating

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its 25th anniversary this year it's

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debuted films from the likes of

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Christopher Nolan Ty West and gulo Del

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Toro I spoke to Paul about the origins

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of the film festival he gave me his tips

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for filmmakers entering frightfest we

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also talked about navigating censorship

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and audience sensitivities and he also

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gave me some tips for audience members

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to get the most out of frightfest enjoy

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so first off can you tell me a bit about

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the origins of frightfest and what

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inspired its

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creation um okay uh briefly because

0:47

obviously I could probably wax on for

0:49

about an hour yeah um so I used to

0:53

co-own a shop called the cinema store um

0:56

which was in Coven Garden we'd sell like

0:58

books and posters and all that kind of

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stuff

1:00

and I had a finally I was on a holiday

1:02

with my then girlfriend um and I

1:05

suddenly had a had a flash this like 206

1:08

years ago um nobody in the UK was doing

1:12

a a festival for genre so I kind of got

1:16

we wrote all the notes I want to make an

1:18

amazing Festival brilliant guests

1:21

brilliant films make it unlike other

1:23

festivals where there's like the

1:25

barriers where you're not allowed access

1:26

to meet people and all that kind of

1:28

stuff and purely I'm a I'm a big horror

1:31

genre lover so I was just I selfishly I

1:35

created a festival that I would want to

1:37

attend this would be my the ultimate you

1:40

know I'd be seeing all the movies

1:41

getting stuff signed if that's your

1:43

thing and getting freebies and all that

1:45

kind of malaky so that's it in in very

1:48

short terms that is the the origin

1:51

that's how it started so and how many

1:53

years has it been

1:55

running this one will be our 25th

1:58

anniversary year 25th uh and this year

2:01

we started off at the Prince Charles uh

2:04

back in the year

2:05

2000 um and this year we we kind of

2:07

moved around the square so we did a few

2:09

years at the Prince Charles and then we

2:11

kind of outgrew that because it was just

2:13

not enough seat and the tickets were

2:15

selling within minutes so we then moved

2:17

to I think it was the odian West end but

2:21

then that closed down as they were make

2:23

into Flats then we moved to the Empire

2:26

what was the Empire leester Square so

2:28

it's like the 1300 CA and then I think

2:31

that was then closing or being

2:33

refurbished so um we then had to move to

2:36

The View Cinema Leicester Square so

2:38

we've been all around the square um and

2:40

then one year the view wasn't available

2:43

either so we went to um uh view uh

2:47

Shepherd's

2:48

Bush and then so we did that for one

2:50

year which worked great and then we came

2:53

back to the refurbished cine World IMAX

2:55

leester square and we ran screens there

2:58

and at the prince ch Charles yeah and

3:01

then this year it's just been announced

3:03

um we're actually moving for our 25th

3:06

anniversary to both the odion Leicester

3:09

Square we're in the huge odion the one

3:12

yeah all the screens on that and the

3:16

odian Lux Leicester Square which is the

3:19

other enormous cinema right next to it

3:21

which is so we're running all the

3:22

screens on that so 25th anniversary

3:26

we're running both pretty much taking

3:28

over half of Leicester Square so gr H

3:30

artwork's going to be looming down on

3:33

everybody um this is going to be a a

3:36

tough one I guess but looking at that

3:39

first time you did it to maybe last

3:41

year's Festival how much has it changed

3:43

over the years I'm assuming it's got

3:45

bigger more films more people

3:48

um it has um obviously as with everybody

3:53

and everything we have to evolve but

3:55

we've always kept at heart that it's

3:59

that we're doing this for the fans you

4:01

know we never take the fans for granted

4:04

ever um okay you casing we have to have

4:07

like a a red carpet thing where you

4:09

can't you know but even even then we

4:13

still try uh and instill that Community

4:16

feeling so unless it's somebody that's

4:18

literally got to come in introduce their

4:20

film and then go because they've got got

4:22

other commitments we encourage everybody

4:24

from Robert England Toby Hooper John

4:26

Landis to George Romero to guo to

4:30

alonur to Eli Roth to get into the mix

4:34

along with the firsttime filmmakers for

4:36

example we did like Ben weatley in the

4:38

cast and crew of kill list and Ben

4:41

watched everybody's films over that

4:43

entire weekend because he's a genre

4:45

lover so you and John Lander is the same

4:47

he was watching as many films as he

4:49

possibly could um and then obviously

4:51

going back you know we had Christopher

4:53

Nolan with insomnia at the Prince

4:54

Charles so again great guest great guy

4:58

still kind of every time I see him with

4:59

like hey f um you know we we change we

5:03

have to we have to be involved but we're

5:05

still keeping the core love of cinema at

5:09

heart yeah so although it might

5:11

sometimes feel oh corporate corporate it

5:13

really isn't we

5:15

have Aon

5:17

aity whatever that word is yeah there's

5:20

nobody telling us right you've got to

5:22

show this that and the other yeah of

5:24

course we do some studio pictures some

5:26

big ticket Studio pictures because

5:29

that's part of genre that's part of the

5:31

mix and of course a lot of filmmakers

5:34

that have gone on to do incredible works

5:37

we supported their early careers so from

5:40

like GMO we did like Devil's um Devil's

5:43

Backbone and Nolan and and and some have

5:46

stayed within genre and some haven't

5:49

like Lee Cronin we had I I didn't know

5:52

Lee from Lee Cronin director of Evil

5:53

Dead rise he we had both of his short

5:56

films which was submitted when I was

5:58

selecting all the short films yeah along

6:00

with the features no not anymore we've

6:03

got I've got Helen and her amazing team

6:05

selecting all the shorts because I can't

6:07

cope with even just the features um but

6:10

no look so we kind of discovered him and

6:12

then he's gone to make it with de rise

6:14

in fact I was emailing him just the

6:16

other day about another thing similarly

6:18

with Ty West Ty West the roost his first

6:23

feature came through on come VHS or a

6:26

DVD right and I I loved it so we might

6:30

not have even seen the roost but we

6:31

showed it back in like 200 whatever 2001

6:35

whatever it was um quite a long time ago

6:38

now and I and instead of emailing this

6:40

was almost in the days before emails

6:43

yeah so I called Ty up and he's like

6:47

hello it's Paul from Fest in the UK

6:50

thank you so much for sending the roost

6:51

I love that right and he's like well I'm

6:54

I'm working at um Urban Outfitters he

6:56

was on the he was on the floor of Urban

6:58

Outfitters and and he said oh that's

7:00

fantastic news fantastic news he said um

7:04

do you think I should get a passport I

7:06

like yeah get get a passport please and

7:08

bring over promo stuff and he handmade a

7:11

load of bats that he brought over gave

7:13

to everybody at the screening at the

7:15

front screening and then for House of

7:16

the devil he did he came and did

7:18

something else for that for the inke

7:20

keepers he brought some so and then of

7:21

course he's gone to make Pearl and x and

7:24

um Maxine which is coming out very soon

7:26

in fact again without any name dropping

7:28

I was emailing him last week about that

7:30

so it's it's not about just showing the

7:33

big names it's about the excitement of

7:36

discovering new Talent um you know Isa

7:40

Lopez with tigers are not afraid we were

7:42

one of the few festivals that reached

7:45

out and wanted it she she every Festival

7:49

almost not just genre festiv but a lot

7:51

of festivals and I think um she was

7:54

rejected by all of them it was only

7:56

fantastic Fest and us that that support

7:59

and again I don't know if you've

8:01

seen Che Masterpiece back so good we

8:05

premiered it in Glasgow on the year when

8:08

it was Bleak snow so she made it all the

8:10

way in from abroad through like even

8:13

half the people trying to get there from

8:15

the UK couldn't bloody well get there

8:17

yeah so me and is we did the Tigers are

8:20

not afraid in in Glasgow then I invited

8:22

her back to we show it in

8:25

August um for the London gig and she

8:28

again you know a dry dry eye in the

8:30

house etc etc and then of course now's

8:33

doing a True Detective series four you

8:36

know so it's all about discovering

8:38

people and some some short filmmakers

8:41

and some filmmakers go on to make other

8:44

incredible work some don't you know

8:46

through life reasons and and we all know

8:49

funding is a whole different uh topic

8:53

yeah yeah there you go yeah okay so with

8:57

that in mind um say I'm entering a film

9:01

into the festival um what what criteria

9:04

are you looking

9:08

for that's a tough question is it

9:11

um right um okay are we talking shorts

9:15

or features uh let's start with shorts

9:18

so short films what what criteria you

9:20

looking for you my advice through doing

9:23

20 odd years of selecting all the shorts

9:26

and we do get sent hundreds and hundreds

9:28

of them um they come in now via film

9:31

freeway for the first I think 18 or 19

9:34

years of the festival we didn't charge

9:36

anybody anything to submit anything but

9:38

then we were getting so much stuff we we

9:40

now I think we're the most inexpensive

9:43

Festival to submit to we we've tried to

9:45

keep our prices relow because we

9:47

understand that struggling filmmakers

9:50

you know you're struggling to make the

9:51

film let alone submit it for 150 200

9:55

quid so I can't remember the exact price

9:57

is but it's very very low MH my my

10:00

advice and obviously I'm not selecting

10:02

the shorts now yeah because I have Helen

10:04

and her team um keep it short um I think

10:09

the optimum length for a short film is

10:12

between seven and 12 minutes yeah okay I

10:15

think do work or they can work if

10:17

they're shorter than that but if you

10:20

start putting stuff that if you if

10:22

you've done a short that's more than 12

10:24

minutes it's very difficult to program

10:27

because um if you if you're doing a

10:30

showcase like which we do a short film

10:32

showcase right maybe you've got 10 spots

10:36

within each each showcase so like a 90

10:39

minute 100 minute total program um even

10:43

if your 15 minutter is wonderful it

10:47

might be taking the place of two other

10:49

ones a seven and an eight right and then

10:53

by the same token is a kind of don't

10:56

bore us get to the chorus scenario yeah

10:59

if do screen um a short before a feature

11:02

which we have done occasionally a lot of

11:05

people in the audience are they ready to

11:09

watch the feature they don't want a 25

11:11

minute or 22 minute short before feature

11:16

so that's that would be my advice is to

11:18

try and keep it short um get other pairs

11:21

of eyes and ears over it so if if I made

11:25

a short I had time to make a short I

11:27

would have my friends you know or or

11:30

even acquaintances have a look at this

11:33

what do you like about it what's wrong

11:34

with it what would you edit because then

11:38

they're not going to care about me being

11:40

in a field somewhere bissy cold or I

11:42

need to keep that bit in or oh this this

11:45

performance is so good no let let people

11:48

see it that will then give you genuine

11:50

honest critical feedback and that also

11:53

applies to Features yeah because so many

11:55

features come through and okay we've

11:58

shown lots of long films but your heart

12:01

sinks when it's running time 2 hours 12

12:04

minutes and your heart sings when it's 8

12:07

or 92 lovely you know perfect yeah okay

12:12

and I would yeah I'd agree completely

12:14

with all of that because I think

12:15

whenever I make a film I even show it to

12:17

people who I know are going to be

12:19

abrasive with it and tear it to shreds

12:22

because I've rather know now than when I

12:25

send it out to sales and distribution or

12:27

to festivals i' rather honest is great

12:29

because as as a Creator and as creators

12:32

out

12:33

there you if you take the the good

12:37

criticism as in the positive reviews

12:40

that's great but you're gonna have to

12:43

take bad criticism yeah and you can't

12:45

take that it's like you know you're in

12:48

the wrong game like pop music and art

12:50

you know like I love radio I Love The

12:52

Cure and some don't that's completely

12:55

fine because not everybody loves the

12:57

same art or the same films and I've said

12:59

this before but it's true that there's

13:01

always going to be divisive pictures and

13:04

I would almost rather a film uh or a

13:07

piece of art be a divisor thing I.E

13:11

you're not going to please everybody

13:13

like than being Bland that's the worst

13:16

thing is something that you you know

13:18

machine built like in the Marvel stuff

13:21

or St to try and please everybody and in

13:24

the end you don't please anybody because

13:27

it's it's a bland big Mac yeah you know

13:30

what I mean it's aable for the mass

13:32

Market yeah yeah well I won't agree with

13:35

you on Star Wars

13:37

but because I absolutely Star Wars I I I

13:42

don't that was one of my first

13:44

obsessions but all all the little things

13:47

all the little toys pal yeah changed a

13:50

lot it has changed a lot over years

13:52

worth of Fortune and then then I flew

13:55

from can to the opening day of um

13:57

episode one oh really

14:03

wowers um and to be honest with you I

14:08

wasn't it's all right anyway look look

14:11

I'm just using Star Wars I know I

14:14

know yeah no I get it I get it so so

14:17

talking about uh pushing the envelope

14:19

and doing those things that um you know

14:22

people really love obviously um these

14:26

days you can have controversial films

14:28

with

14:29

sort of controversial themes and content

14:31

and how do you navigate that and do you

14:34

care about audience sensitivities or are

14:36

you like it's a horror film deal with it

14:38

what what's your kind of stance on that

14:40

no we're we're very very careful in fact

14:42

um every year um we get sent stuff

14:45

through that myself and Alan Jones who

14:48

is my you know co- programmer um on the

14:51

festival we get send a lot of stuff that

14:53

we find um dist distasteful really yeah

14:58

no but

14:59

either it doesn't work for us on a

15:01

personal level or we just know that the

15:04

content is too problematic so I'm I'll

15:08

just give an example like we screened um

15:11

uh the Remake Alex Aya's remake of um um

15:14

of maniac yeah you know the one Elijah

15:16

would yeah yeah and there was some push

15:19

back from people that would shown

15:22

something that was too

15:23

extreme and we totally get that but

15:27

there was and a lot of people love it

15:28

and now it's kind of regard as not a

15:29

classic but people respect it they they

15:31

do like it but there was at that time of

15:33

that screening there was there was some

15:35

Kickback um we also did program a

15:38

Serbian

15:40

film which is a very controversial

15:43

picture especially in it unart form but

15:47

it wasn't in our eyes and again all

15:49

artists in the eye the beholder it

15:51

wasn't exploitation for exploitation

15:53

sake having spoken at length with the

15:55

director and the producer of that

15:57

picture it was it was a metaphor for you

16:00

know the the plight of the country etc

16:03

etc but whereas if then you've got some

16:05

stuff which is just pure trash pure

16:07

exploitation that we wouldn't touch with

16:09

a barge pole I mean we did screen the

16:12

remake of I Spit on Your Grave which

16:14

again wasn't wonderful I mean

16:18

but it was it we got yeah we didn't get

16:21

away with it it wasn't really something

16:23

that we loved yeah and there's cly much

16:25

worse stuff that we have absolutely you

16:28

know turned down yeah um so yeah but

16:32

then horror has always been and it

16:35

always should be have some controversial

16:37

stuff in it so for example if we were

16:40

running frightfest back in the early 70s

16:42

we'd be offered stuff like The Last

16:44

House on the Left which has got original

16:47

one which has got some massively

16:48

problematic stuff in it even Texas

16:51

Chainsaw Massacre and the original

16:53

Maniac uh so I think it's good to push

16:57

the boundaries but I think the

16:59

boundaries over the years have changed

17:02

um but so for example we we we were

17:04

premiered both of the terrifier pictures

17:08

terrifier one terrifier two we did the

17:10

world premier of the second one um was

17:13

it last year yeah was the years the

17:15

years Flow by yeah was it last can't

17:17

remember anyway um but it's really long

17:19

really really really long like two and a

17:21

half hours long I remember in the in my

17:24

introduction I said look this is the the

17:26

war in peace of um Slasher clown movies

17:30

and to be honest I the film is Extreme

17:33

in its Gore and it's done extremely well

17:37

worldwide box office it's been a

17:38

sensation done a

17:40

fortune and art is now like a for the

17:44

kids a lot of teenagers love it don't

17:46

they're almost like they're video nasty

17:49

you know what I mean don't know about

17:50

I'm old than you remember like the video

17:52

Nast era um so when we're when me and Al

17:56

are programming for

17:59

frightfest it's not Paul Fest it's not

18:01

Allen Fest it's frightfest so we are

18:03

reflection of what is out there and

18:06

terrifier is in the current Zeitgeist so

18:11

whereas I pref I I prefer David Lynch

18:15

and that kind you know the more cerebral

18:17

kind of stuff and I do throw in a lot of

18:19

that you know lynum slow Burnie kind of

18:22

stuff and all that malaky but but then

18:25

you I couldn't just show you know we're

18:28

showing 7 films or something this year

18:29

again they can't all be of the same kind

18:32

of thing it's got It's like a mixtape of

18:35

like you have a slow burner then you

18:37

have like AIT of a popper and an action

18:39

comedy one and a more hard no so it's a

18:41

mix a mix of stuff yeah and do you

18:44

notice uh I mean do you notice any

18:47

Trends coming up is there like a like

18:49

for example last year was there a ton of

18:51

films in a certain type that's a

18:55

brilliant question Jim um

18:58

yes and

19:00

no okay because because when we're

19:04

selecting the films um it literally

19:08

takes us a year to put the program

19:11

together okay so we're already working

19:14

on fact working on stuff for next year

19:16

not let alone this year as in next

19:19

August

19:21

um we generally we don't see patterns

19:25

until the program is complete m

19:29

and then there's two um uh a couple of

19:34

very respected critics um uh virin

19:38

salvie Kim Newman yeah and Anon Patel

19:42

and they do like a a frightfest round up

19:45

okay of everything that we've shown they

19:47

do both written word thing the BFI and

19:51

they do a podcast BFI podcast something

19:54

radio and it's interesting because they

19:59

watching all of the frightfest

20:01

Selections in the space of like three or

20:03

four weeks so some stuff they come to

20:04

see at the festival someu some stuff

20:06

they'll see to review and

20:09

Advance they pick out the strands of oh

20:14

this year is but when we're selecting

20:16

them so for example I've got four or

20:18

five movies to watch today yeah and

20:20

maybe one of those I'll love but it

20:22

might chime with a film that Allan's

20:24

already selected or I selected six

20:27

months ago so and we are purely a

20:30

reflection of the times and what's being

20:32

made and again of course there was

20:34

obviously the covid years I thought it

20:35

was going to be a lot more lockdown

20:37

movies of course there were but that

20:39

wasn't immediately um

20:43

uh uh wasn't immediately um noticeable

20:48

for us because a lot of stuff was made

20:51

pre pandemic and then it was in post

20:53

production post pandemic so does that

20:56

make sense yeah yeah that makes perfect

20:58

sense and it brings me on to something

21:00

else whenever I speak to filmmakers

21:01

who've had a film at frightfest one of

21:03

the things that they love about it is

21:07

the amount of exposure they get because

21:08

a lot of festivals you can go and you

21:10

don't really have that much interaction

21:12

with press but they all say loads of

21:14

interviews loads of press obviously

21:16

that's that must be important to you

21:17

guys how do you keep that momentum up

21:19

and keep the Press coming and keeping

21:21

them

21:21

interested um again that's an

21:25

interesting one um the Press Greg day

21:28

who is another Festival co-director he

21:30

he looks after all the pr so he does and

21:34

he will pretty much with very few

21:36

Exceptions there there's no like

21:37

hierarchy of oh if you've got that film

21:41

there then obviously you know there's

21:42

certain films we have to do as like

21:44

Temple so they're going to get more

21:45

press but we always try and generate as

21:47

much press as possible yeah each

21:51

individual film so um what what tends to

21:55

happen is this is is what I've been

21:57

emailing last couple of weeks when I've

22:00

been saying your film is selected to

22:02

frightfest please don't tell anybody

22:05

please give it strictly to yourself

22:06

because then when we make our uh um um

22:11

our announcement our announcement of the

22:13

films it gives more impact so we say

22:15

look please hold it back and then when

22:17

we do the official press release we're

22:19

listing all the movies like the whole

22:20

lot x man at World premier x amount of

22:23

UK prems whatever it's going to give

22:25

everybody the fair crack of the whip on

22:27

the playing field you know everybody's

22:28

get the publicity um so it doesn't

22:31

matter whether it's a studio picture or

22:33

there's a bunch this year a lot of first

22:35

time both UK and international

22:38

filmmakers where we've loved their works

22:41

I mean we've really loved so it's

22:43

beautiful to be able to launch some you

22:45

know their careers into the into the

22:47

world kind of thing yeah and and we also

22:50

do you know that we we try and encourage

22:52

as many of the filmmakers to hang with

22:54

each other as possible so as in like see

22:57

I hate the networking but it's it's

22:59

great for networking both from an acting

23:01

and directing perspective you know

23:03

because we have about seven or 800

23:05

guests coming in from around the world

23:07

you know directors producers writers

23:10

special effects people makeup effect

23:11

actors actress blah blah blah and and

23:14

you get to mingle with people who love

23:16

the thing you love as well so even if

23:18

you're not networking for a business

23:19

reason you're just nerding out about

23:22

horror movies that you love um so then

23:25

my final question on this would be what

23:27

if I'm coming to the to frightfest as an

23:29

audience member how do I get the most

23:31

out of

23:33

it okay um so this year luckily we've

23:36

got um more slightly more not enough I

23:40

don't think we've got slight more

23:42

weekend passes available because last

23:44

year they sold out in in record time so

23:47

luckily we do have a few more but I was

23:49

I went to actually visited both the

23:50

cinemas yesterday again and although

23:52

they're big I don't know if it's going

23:53

to be quite big um look if you can get a

23:56

weekend pass um that is your best value

24:00

all right um that basically gives you a

24:03

guaranteed seat in the main

24:06

Auditorium but then it gives you first

24:08

tips on the selection of your Discovery

24:11

tickets so you know that'll give you

24:13

free access to such and such of films um

24:16

and then of course we do the day pass so

24:18

if people uh can't make it for every one

24:20

of the five days then they'll just come

24:22

on the Saturday or the Sunday or the

24:24

Monday because it's Bank Monday um and

24:27

then you can pick and choose your day

24:28

you know you can make your own mixtape

24:31

um and then of course you get a lot of

24:32

people just coming along for one film um

24:35

I would say it's such a fantastic

24:38

atmosphere both both for the fans and

24:40

for the filmmakers whether they've got a

24:43

film in the festival or not it doesn't

24:44

really matter it's just important to be

24:46

there to be you know talk as you said

24:48

talking to producers and financiers if

24:51

if that's your bag or if you're there

24:53

purely as a

24:54

fan make friends with the people in the

24:56

seat next to you you never know who

24:57

you're going to be sat next to that's

25:00

similar to me and I go to a lot of

25:01

festivals worldwide I've met a lot of

25:04

people just by sitting next to them just

25:06

say oh hey hey do enjoying the film blah

25:08

blah and just yeah just I know not

25:12

everybody can be or is able to be like

25:16

um talkative and I totally get it if

25:19

people don't want to talk that that's

25:20

completely fine of course um you know

25:24

mostly

25:25

99.9% of rightest audiences

25:28

are very friendly it's the friendliest

25:31

Bunch

25:32

um and obviously we can't not everyone

25:36

that comes to every every screening is a

25:38

fredfest fan a lot of people just Bowl

25:39

up and watch a movie but it's such a

25:42

brilliant atmosphere that you you don't

25:44

get if we if me and E Jim were going to

25:46

see a film in your local view on a

25:49

Friday night who knows what that

25:52

audience can be like there might be

25:53

phones there might be shouting there

25:55

might be people trying to get in from

25:57

another screen

25:58

this doesn't happen Fest you know

26:01

everybody's looking after each other

26:03

everybody knows that they're sharing the

26:05

love of genre yeah that's that's really

26:09

special that's very rare around the

26:11

world I mean there are a bunch of

26:14

festivals that I've been to that where

26:15

it is that same kind of level of passion

26:18

Motel X Moto G in what youal uh

26:22

fantastic Fest over in Austin Beyond

26:24

Fest in La um Tiff you know Peter's

26:27

midnight Madness at Tiff amazing amazing

26:31

atmospheres but then you go to somewhere

26:33

and actually I'm not going to name any

26:34

names it's not no but but look something

26:38

like the and I love going to can I do

26:40

love it but you see genre pictures in

26:43

can and it's not that same kind of

26:47

respectful

26:48

audience and I love no tell me about I I

26:52

love no I love can as well and but the

26:54

Mad thing about that is I've been in

26:56

screenings where for example it's a

26:58

George Romero thing I can't remember the

27:00

one he did what uh the recent one he did

27:03

and Land of the Dead I think it was

27:05

Premier at can or something like that

27:07

and obviously the audience are sort of

27:10

quite a wide range of people aren't they

27:11

so they're not horror fans necessarily

27:14

they're so they react very differently

27:16

to that kind of well I saw um um wenty

27:21

uh they crg's crash in oh really all

27:24

right cool yeah yeah which was like the

27:26

world premier amazing I love love the

27:28

mov yeah but so all the genre or many

27:31

other genre festivals weren't able to

27:34

get tickets there was no tickets

27:36

available and I was literally surrounded

27:39

by people who obviously had no idea what

27:44

they were going to watch or that it was

27:45

a Bo picture they just got the ticket

27:48

and turned up and they in their finery

27:51

and many of them walked out like five or

27:53

10 minutes they were like and I felt

27:56

sorry for the people outside that

27:58

couldn't get a ticket that were

27:59

desperate to see the new look K is a

28:02

different Beast it's its own brilliant

28:05

crazy

28:06

insane Beast it's not it's not a genre

28:09

Festival is it not absolutely not it's

28:12

like like seeing stuff in London you

28:13

know London fil Festival great yeah it's

28:16

not a genre Festival so they will often

28:17

program stuff in not such good slots or

28:21

whatever and then you are going to get a

28:23

lot of regular audience in there as well

28:26

do you know what I mean so yeah and so

28:29

that's kind of what I love about can as

28:31

well is if they don't like it they'll

28:33

Boo or they'll leave and if they love it

28:35

they'll clap for 20 minutes at naum but

28:39

that's fine you know that's there's

28:40

passion there it's different different

28:41

sort of Festival we we we we premiered

28:45

um um Donnie

28:47

Darko years yeah yeah and we went me and

28:51

all went see um Southland tals um it was

28:54

like the very early morning screening in

28:55

the enormous pet and of course it was

28:57

the to be seen again extraordinarily

29:01

long long cut it was just like I you

29:04

know it's got some great stuff in it in

29:06

in retrospect but at the time we were

29:08

like oh my god what happened when is

29:11

this gonna end you know that's that's

29:13

can which I Love Thinking of all your

29:16

experience watching all these horror

29:17

movies what is the most disturbing

29:20

horror movie or seen in a horror movie

29:22

you've ever seen right so despite doing

29:26

this thing for 25 years and being a

29:27

horror fan my entire life I do still

29:31

genuinely get scared about on certain

29:34

films and that fear foron you know when

29:37

the hairs on the back of your neck go up

29:39

that still happens um not a lot not as

29:43

much as it should be but uh enough so

29:45

one of one of my favorite films of the

29:47

year which we just well pre we just

29:49

sorry UK premiered in fredfest in

29:51

Glasgow is a new movie that's coming out

29:53

in April in the UK all you need is death

29:56

by Irish director pulan who looks very

29:59

much like alen Mo he's in that Alan Mo

30:01

kind of style it's film about a young

30:04

couple searching for a cursed GAC song

30:10

which kind of infects like a virus when

30:12

I watched it it was like literally hairs

30:15

it was just terrifying bit like um Z's

30:19

possession mixed with kill list or

30:21

whatever um and inside aler you know

30:25

bastillo Mor's picture spoilers but when

30:29

betri is coming out from the dark um

30:32

Marts which again we premiered that was

30:34

shocking me and we sat in a screening

30:36

room on our own it was massive room and

30:39

nobody was nobody's in there watching me

30:40

and him like four or five other people

30:42

and we're like [ __ ] know this is we

30:45

have to show we have to show this um so

30:48

yeah that and that's obviously a

30:50

terrifying um picture um there's loads

30:54

yeah so yeah horror and look my favorite

30:57

I'm not going to say never if you're

30:58

going to ask me my fa no go for it no

31:00

tell me favor favor my favorite horror

31:03

pictures I've gone on record with this

31:05

before obviously it's when people say

31:07

what's your favorite horror and don't

31:10

look now is my absolute all time

31:12

favorite because I still am terrified of

31:15

the ending because I watched it when I

31:17

was like 13 or 14 with my parents and

31:19

that ending just kept repeating in my

31:21

mind I couldn't get it out of my mind

31:23

and then just rewatched it on 4K and

31:25

it's just a masterpiece um the Innocence

31:27

the horn ing um brilliant scary films

31:30

Texas Chainsaw Massacre agento Inferno

31:34

um alien the first alien picture um I'm

31:37

sure I've forgotten some but look that's

31:39

just a and and David Lynch my favorite

31:41

filmmaker so M Holland Drive or Twin

31:44

Peaks firew walk with me um um a video

31:48

drum see theend the thing remake

31:51

George's bless and I love George so one

31:54

of my closest friends um pretty much all

31:56

of georgees but you know dwn dead

31:58

especially Night of the Living Dead just

32:00

just wonderful pieces of work I hope you

32:03

enjoyed this week's episode if you want

32:05

more advice from industry professionals

32:07

who are out there at the moment working

32:09

or you just want to listen to some cool

32:11

stories from film sets from around the

32:13

world then please do subscribe

32:16

[Music]