Weird, Wild, Cinema with Doc Sleaze

They delve into the world of exploitation films, with Doc expressing a preference for lower-budget genres such as horror and crime, while also noting the cultural differences in war films from various countries, especially between British and American perspectives during World War II. They highlight notable directors like Roger Corman, Jesus Franco, and Lucio Fulci, who are known for their contributions to exploitation cinema. The conversation also touches on the evolution of film distribution, particularly the transition from direct-to-video to streaming platforms, and the emergence of contemporary exploitation films.

Weird Wild Cinema

https://youtube.com/live/Awey_cdJNyA

Bad AI Transcript

you know, people are like worried about what somebody's doing as if all these people don't do things themselves. I mean, chances are pretty good they have sex or they masturbate in their spare time. Everybody looks at pornography. We've all at one time or another looked at it. Right. I mean, as long as it's not creeping into your… Exactly, yeah. you're not at work doing these things in front of, you know, people who don't want them to happen in front of them, then you're probably okay. Right. Yeah, exactly. You know, I'm a great believer in that. What you do in private, as long as it's legal ish, as long as you do it in private, you know, as long as it's all between consenting adults, then no problem. Yeah. So, uh,This is Bob, and this is Doc, and we're doing a conversation. We're going to talk about Doc Loves Movies, and I know Doc through The Overnightscape. So, Frank's Overnightscape universe, can we call it that at this point? Now that everybody has their own universe, can Frank have the Overnightscape universe? Is that possible? I think he's probably the only person I know who does. Because, you know, that's what they're branding all these, all these things as the, you know, the various universes. So there you go. I think we can call that the overnight. And, and so, yeah, I thought it'd be fun to have a chat and we were, we're kind of jumped in the middle a little bit. Doc was just telling me about a person who had a horrorsite and got themselves in a little bit of hot water because they worked in childcare and somebody's like, you can't, those two things are incongruous and can't happen in the same world apparently. So I didn't, I didn't know that, but I mean, everything happens at the same time. So, you know, who knows what's going on, but tell me doc, what's, so if you had to say, these are my, films of interest, like genre-wise, or not even genre, but maybe it goes across genres. How would you describe your film intake? Probably the most basic description would be exploitation. Generally lower-budgeted films, but not always. The trade in genres that can range from, you know, horror, through science fiction, crime even, crime. Occasionally they do actually verge on pornography. Most exploitation does because I'm afraid nudity sex and nudity sells. Yeah, there you go. That's, you know, that I'm afraid is a fact. As does violence. Sadly, it shouldn't. Yeah.Yeah, and there's all sorts of sub-genres. There's some I don't like so much. I don't like Nazi exploitation particularly. As far as them being the villain or them being the hero? Well, Nazi exploitation basically films, they're set against the background of World War II. Ilse, what was she called? Oh, She-Wolf. She-Wolf. Yeah, She-Wolf. I really don't want that sort of thing. Because, well, I'm old enough and not old enough to remember World War II. Obviously, it ended some time before I was born. But I grew up with relatives. Right, yeah. They served in World War II. And, you know, that was just something that was off. And it is a particularly unpleasant thing, I think. I just really don't think that concentration campsand genocide are a suitable subject for exploration. To put them as the backdrop of your film.