I’m super-excited about this week’s episode, as I’m getting to talk about one of my favorite zombie movies (Day of the Dead) with one of the creators of that film (John Harrison, the first assistant director and composer of its iconic score) and one of the producers at one of my favorite boutique Blu-ray labels (Jeff Roland from Shout Factory/Scream Factory). We talk all about the making of the film, of course, but also the making of this set: one of my favorite special features on the bonus disc is a 30-minute-or-so doc about the actual restoration of this film. How they tracked down the interpositive, what they had to do to get the transfer into shape for a 4K release, how they had to mix the sound, etc. 

I really cannot recommend this set enough: it comes out June 16, but I strongly recommend picking up a copy now, as these collector’s editions can be hard to keep in stock. Obviously, the fans of Romero’s films are going to want it. But I would pitch it to anyone who appreciates a good piece of archival work: There are documentaries on this thing that will simply help you understand the world of physical media better. Plus a fun new audio commentary featuring Drew McWeeny and Daniel Kraus. And, of course, a pristine new transfer that gives extra depth and definition to all of those scenes set in the underground mines where most of the movie takes place. 

Occasionally, someone will ask me if I think they should invest in a movie. My answer is, invariably, the same: you should only invest in movies you really believe in; you should understand that even if you invest, the movie will likely never get made because most movies never do; and you should only invest if you’re willing to lose everything you put in, because even those movies that do get made tend to show a loss.

I lead with this because today I’m talking to Jeff Annison of Legion M, a production and distribution company built on the idea that fan investments are a great way to both develop seed capital and drive enthusiasm at theaters. Legion M is not a fly-by-night company and has a number of productions under its belt, including My Dead Friend Zoe and The Man in the White Van. Jeff will be the first to tell you that investing is risky and should only be done if you’re comfortable with losing it all, though he obviously has staked his claim with Legion M and put no small amount of his own capital at risk. And they’ve certainly seen some successes with films like the Nic Cage-starring Mandy (one of my favorites of the 2010s).

We discussed how changes to investment laws in 2016 helped spur a shift in indie fundraising from crowdfunding models to models that allow individuals to earn equity in the movies they contribute to the production of. We also discussed the Legion M Film Fund, their distribution-minded arm that provides last-in, first-out money for films seeking a domestic release. And we chatted about the effort to build a consistent fan base via the cultivation of retail investors.

Special two-part episode of the podcast this week! The big news in Hollywood this week has been the burgeoning effort by Hollywood creatives to fight the purchase of Warner Bros. by Paramount Skydance. Thousands of names—including some of the biggest in the business—have signed an open letter in the hopes of demonstrating that not everyone in the industry is on board with the potential deal. So I wanted to talk to some of the folks behind it.

First up is an interview with Ted Hope, indie producer extraordinaire and author of the Hope for Film Substack. We talked about how indie production has changed over the last few decades and what could be lost if Warner Bros. and Paramount are allowed to merge. 

Then I got Jon Reiss and Jax Deluca of the Future Film Coalition on the horn. We discussed what concrete steps could be taken to help fight this merger and what media consolidation means to the indie filmmakers out there. 

If you found this podcast interesting or informative, I hope you share it with your friends!

I’m joined on this week’s episode by Ed Solomon, the writer of the new Steven Soderbergh feature, The Christophers, which is in limited release this weekend and going wider next. It’s the story of an aging artist, played by Ian McKellen, and his new assistant, played by Michaela Cole, who has been hired by the artist’s son and daughter to forge a series of paintings from an earlier, more successful period in his career. The idea being that, when he dies, the kids can sell the “found” works for millions.

Solomon discussed the idea for the film, which began with a single sentence from Steven Soderbergh, and blossomed from a twisty noir into something more emotionally resonant. We also discussed their previous collaboration, No Sudden Move, and why he wishes more people had had a chance to see it; the difference between more conceptual art and actual paintings; and the joy of working with McKellen and Cole in shaping the voice of the characters on the screen in The Christophers. 

It was a wide-ranging chat, is what I’m saying, and we didn’t even get a chance to discuss Men in Black or the Bill & Ted series of films, which he co-wrote. Maybe next time! If you enjoyed this episode, please share it with a friend!

On this week’s episode, I’m joined by Steve Starkey to discuss his new book, On the Set of Forrest Gump. Steve won an Oscar for best picture as producer on that film, but he has a career that, as I told him, has meant a lot to me, with credits on, among other pictures, Empire Strikes Back and Return of the Jedi, Who Framed Roger Rabbit, the two Back to the Future sequels, Contact, Cast Away, and, of course, Forrest Gump.

We discussed all sorts of stuff here, from the movie magician who made Lt. Dan’s legs disappear, to his work as second unit director, to the early days of using digital trickery to fake the words and faces of famous people, to the worst note he’s ever gotten after an audience test, to the difficulties facing California’s film industry in the face of global tax rebates and production credits.

On the Set of Forrest Gump is laid out like a coffee table book and is beautifully illustrated with 250 or so full-color stills from set. So it’s nice to look at. But the story he tells is a fascinating glimpse into the push and pull of art and business, the struggle between the producer on the ground trying to make sure his director has the resources he needs and the studio bankrolling the whole thing and worried about losing tens of millions of dollars on a movie that isn’t a guaranteed hit. 

Anyway, I hope you check it out. And if you enjoyed this episode, I hope you share it with a friend!