SPEAKER_01 0:04

Hello, my fellow Dreadites. Welcome to the Dread Alert Podcast. Today we are joined by writer, director, producer of the upcoming film Dorthea, Chad Farrin. Now I've seen Dorthea, and if you like true crime and if you like horror with a touch of comedy, Dorthea is going to be a film you want to check out as soon as it releases on November 4th. Chad, thank you so much for joining us. I absolutely love the film.

SPEAKER_00 0:28

Wow. Well, thank you for having me, and I'm glad you like the film.

SPEAKER_01 0:31

Yeah, I thought it had a very distinct visual style from some interesting like foreground shots with some action uh in the background out of focus. I think I might have caught a diopter shot in there, if I'm not mistaken. Yes, yes. I was like, and I'm a sucker for 80s film, and diopter shots are like my catnip. So I was just like, this film is fantastic. And it also features a really cool score from Richard Band. So if you're a fan of Reanimator and From Beyond and some of the like most iconic 80s music, I could just rave about this film. I I really enjoyed it. Thanks for being here. Thank you. So I have to ask, you're the writer, director, producer of this film, what is your process like on adapting a true crime story into something of a more compelling horror narrative? This isn't your first rodeo. You've also done Ed Kemper. So do you have a process that's kind of like shaped over time?

SPEAKER_00 1:24

No, you know, it just if if an idea or a character or in this case, you know, Dorothea, you know, sparks my interest or whatever, I dive in to learn as much factual things behind them. And then, you know, just kind of uh let the writing begin. And if I'm excited by the character or whatever, it kind of just makes it easier and it pulls me into it. And uh, you know, usually a script takes me two weeks to write. And it's it just I have a certain amount of energy and excitement that I know will dissipate the longer it takes. So I try to get it all done as fast as possible because then I'm on to the next project and the next project and the next project. And Dorothea was just, you know, an inspiration from you know, Robert Aldrich of, you know, hush hush, sweet Charlotte or whatever happened to Baby Jane. I mean, mixed in with, you know, good fellas. There was kind of, you know, the fourth person, you know, breaking the fourth wall and all these other split di aftershots, things that were more kind of, you know, um stylish and you know, exciting, and you know, it just kind of that pulled it in from the script, making the script even more fun to write because you were able to go into these different directions and have narration and have you know all these kind of you know, split screen and all these things that were not your typical uh devices for a normal narrative. It was just kind of a free-for-all and fun to try with doing something different as opposed to uh Ed Kemper, which was a little more straight line, you know. This was more fun in a way, and having the comedic elements and those kind of things tossed in there because you know what she was doing was just, you know, a lot of times hilarious. I mean, someone that is this elderly woman who's poisoning people, burying them in her backyard, scamming their soul. It's just such a colorful character, you know, as dark and morbid as she was, but you know, at the same time fun to kind of dive into.

SPEAKER_01 3:14

Yeah, I was really struck with the tone of the film and also the execution. I thought the direct address to camera was really unique and it did feel goodfellas-esque. I when I was crafting a question that I'm gonna ask later about uh your favorite true crime or your favorite like character study film, uh I almost wrote Police Procedural, but I'm like, that's not right. What am I looking for? And it's that it's that goodfellas vibe. But I'm curious, because Dorothea is such a character and uh I uh definitely supports this film. How did you balance telling her story as a I mean, it's absurd in some ways, but it's true, uh, you know, but how did you balance that with the respect for her victims? Uh it's it's very uh you're walking a very fine tightrope of a comedy, but also real lives are at stake. I I wonder if you had uh if there was any thought given to that because it's very funny, but I also found it very respectful to the actual events.

SPEAKER_00 4:08

Yeah, well, you know, in any of these, I try to at least write victims or, you know, the killer or any of these things that not that they're bumbling idiots, you know, you they're real people in this case that had, you know, this happen to them. So you try to, you know, not write them as bumbling fools or, you know, uh as fodder for the killer. It was, you know, there was they had troubles. They were living in this house, you know, trying to get over their addictions, and she, you know, was, you know, a predator and you know, uh just kind of, you know, everything about her was uh meticulously planned of, you know, their demise and then their their burial and then their stealing of their checks. So she was a smart cookie, you know, there's no denying that. And the the you know, so if you fell under her web, so to speak, you were kind of in trouble. And it was kind of going in that without it's always a hard thing when you know victims or you know and their families, you you you you know if it it's hard for the you're gonna get backlash from one side or the other in some way, shape, or form. So but you try to be as respectful as you can and still make something that's entertaining and you know thought-provoking and whatever, and that's kind of the you know what I try to do, but at the same time try to you know have respect because actual people did die. And you know, you you just gotta do what you feel comfortable with. I mean, there's some people are gonna love it, some people are gonna hate it, but you know, for me, I you know, it's it's also I have to be entertained by it, I have to be enthralled by it, I have to be excited by it. So it's kind of you know, trying to just stay true to who I am and what entertains me. And you know, if if someone comes and horribly murders me and someone writes a script about it, I'm not going to be upset. You know, I you have my blessing to, you know, write me bumbling or or whatever it might be. I I won't be upset by it.

SPEAKER_01 5:59

Yeah, I I think that's a fair point. I think that, you know, I you made a really great point about Dorothea being so calculating and so meticulous. She feels like the absolute epitome of an organized sociopath. It's it's wild to see how precise she is. Um what I what are your influences approaching this as a director? Uh, we talked a little bit about the writing, but as a director, did you have any strong visual influences, anyone you look to to say, ah, this is the language we're going to use on this film? Because it is a very unique, uh, strongly voiced film.

SPEAKER_00 6:32

Yeah, I mean, and it goes back to, you know, uh Goodfellows is was was the biggest, you know, uh inspiration is not only uh in the writing of that, where you know, breaking the fourth wall and these different things, but you know, the way the camera works in that film is spectacular. And it's just, you know, I tell my you know DP Jeff Billings, I'm like, here's some films that I like that I'm inspired, whether it's you know, a little bit of you know, De Palma or you know, like I said, Robert Aldrich or you know, whatever it is, and I throw a slew of films, you know, Fat City or you know, by John Houston, and you you kind of throw a whole bunch of films his way, and I say, here's what you know is inspiring me at this moment visually. And, you know, it's a lot of the stuff I also write into the script, whether it's a camera move or the split diopter shot or whatever it might be, so I kind of know when when I get there or the idea I want for that particular scene. But a lot of the time I kind of just go by not only the the rehearsal, what the actors bring to it, but also the location itself, because a lot of times on these low budget things, you've got you know 10 hours to get 10 pages done. So you you've got to kind of get run and gun mentality and get what you got. And if you go in there with all these storyboards and all these ideas in your head and you're like, well, we're out of time to do all that. We we just got to do this. So I'm very free-flowing when it comes to you know, a style for each particular film. And it's just kind of going as far as shots go and whatever, what we're able to achieve. If we want things written out, we've got a crane shot here where it comes down, you stick to that because it's in the script and it worked for what we have. But a lot of the times there's just now time to get the wild ideas that you might have in your head or a way to do it, and you're just kind of like, okay, we block it out in a master shot, then we go in for close-ups, and then we see what works in between that. If we have time to get a nice dolly move in, we throw that in there and try it. But you know, nothing for me is ever locked solid because everything is always changing. Whether it's an actor's performance or the location is, you know, the size of you know a closet, and in your mind it was, you know, a ballroom. So I'm just kind of open, instead of pulling my hair out, I just kind of go, okay, this is what it is. How can we make this work and give the film you know a feel that's bigger than it is? And that's what I try to do with every film. You know, you make these in ten days on a limited budget, and you you know just try to do the best you can.

SPEAKER_01 9:00

I'm shocked to hear that this was made so quickly. I'm shocked to hear it was written in two weeks because everything felt extremely specific and extremely fine-tuned with this. But I will say a lot of my favorite films have that run and gun ethos. And you know, uh it there's a a certain heart to the film that happens when people are working together wearing many hats and just making the art happen. And I I I always my audience is probably sick of me hearing me talk about it, but it's like David Lynch's Room to Dream, like being inspired by the location, being inspired by the performance. Totally. Yeah. One thing that really elevates this film, and again, I I'm shocked to hear that it was made so quickly, but one thing that really elevates the film is the score, and it spans so many genres, and it has its bones in some of the scores that I love from the 80s, like I mentioned earlier. What's it like working with Richard Band? He I had a chance to meet him this weekend. He spoke so highly of you, and he said that you've worked together on a number of projects. What's that collaboration like?

SPEAKER_00 9:59

Oh, I mean, Richard is, you know, phenomenal, and it he again elevates the film up, up, up, up. It just brings something no other composer I've ever worked with can bring to it. And, you know, he's just not only a wealth of cinema information, you know, he comes from a family, his father was a a famous producer, and you know, so he's got the and his brother is, you know, of course, Charlie, Charlie Band, who's got, you know, Full Moon Studios. I mean, it's just amazing. Just the history around Richard and his talent as a composer is unmatched. I mean, I just I bless the stars that I've you know managed to work with him on numerous films, and that you know, every time we do it, it's just a joy. I'll send him the script sometimes, he'll read that and have some notes, some suggestions. It's say if he's interested or not from that stage. And then after he'll come down to a set visit or two and you know, meet the cast and crew if he's on board. Then I send him a rough cut, he'll make some notes, and then you know, when I lock picture, he'll take it, you know, and a couple weeks later, he's like, here, come on over, I got some stuff for you to listen to. So, you know, it's it's just kind of you know one of those things where when it's in his hands, I've my I feel safe because it's it's gonna be a great score and it's gonna get done fast and it's gonna be good, and it's it's it's just a pleasure to work with him.

SPEAKER_01 11:14

I can say there was some wild stuff happening from the normal like strings that you would expect from a Richard Bann score to these walking bass lines that I was like, is that was that Twin Peaks almost? Like I was like, oh, that was I mean, it was he nailed this film. There's so much intrigue and so much like, I don't know, I heard some horns in there at one point. It was fantastic.

SPEAKER_00 11:33

It was funny because you know I normally when I edit, I put in temp score, and for this film, the entire temp score was different in your Morricone songs from different films from different tracks, but it fit it so well. And normally Richard will hear this stuff and he's like, take that temp stuff out. I I don't want to hear any of it. But for this one, he's like, you know, you've you actually picked stuff that fits it so well that I've got to that I'm totally inspired by some of these, you know, Morricone tracks, and you know, and it it showed he totally there's some spots that you're like, especially when they're down by the river taking the coffin to the river, it's got this, which is very important phony and so great.

SPEAKER_01 12:12

Oh yeah. No, it was uh I was I was uh it was it was appropriately uh genre spanning, if that makes sense. It was appropriately like uh across the board. It was just so well done. I I I have so many good things to say about this film. It's a it's a challenge for me to not gush and to solicit answers from you because I can just tell you what I thought of it. Um but I I I'm curious, where do you see the overlap? Because there's two distinct audiences you're serving with this. You have your true crime audience and your horror audience. And I I I probably Richard will be like, this weird guy talked to me about this at the Comic-Con. But uh, where do you see that overlap happening? Uh are you intentionally servicing both audiences? Are you servicing one more than the other? What is your where are you coming from as a director?

SPEAKER_00 12:55

Well, for that, you really try to service all, you know, and and to and walk the line of, you know, you want to be um uh truthful to what happened and get all that in, but at the same time you want to be cinematic, and at the same time, you want to kind of, you know, tell the story as closely possi as possible to what happened. And I try to do that, and you know, it goes down to researching everything that I can on her and then pulling from that what works, and then little nuggets of what might be uh far-fetched of what happened, you you know, you kind of just make it work, but and it but once you kind of have her character down and you think, well, she probably would have done this if that were you know the thing. The you know, the scene with the uh the boat uh salesman. I mean, as a pr with Lou Temple is a perfect example of exaggerating what, you know, uh is taking it out. The the fact that uh you know, the putting the coffin in the river, that's true. Uh, you know, the kill the the uh uh the guy she hired to help build the coffin, all that's true aspects of it, but then just kind of expanding on that that makes it more for me entertaining and exciting and something to do. Her speaking Spanish, weaving in these different things that she did with things, you know, scenes and stuff that are exciting to me and hopefully entertaining to an audience.

SPEAKER_01 14:14

And Lou Temple was fantastic. That scene is a standout scene for me. Right. And the the supporting cast is fantastic in this. Uh, but I wonder, is it challenging writing a protagonist who's also a villain? Uh she's clearly the main villain of the piece, but also the I can you can't call her the antagonist because she's also the protagonist of the piece. Is that a challenge for you to make her relatable and likable and charming while also heinous?

SPEAKER_00 14:41

Well, I think that's the thing. You know, we had a screening at the Valley Film Festival that was actually a packed screening and everyone just loved it. It was one of the best screenings of my career for any of my films, and everyone was rooting for her. And, you know, in a sense, they they kind of felt bad because when they after you stop away from it and you take a step back, you're like, oh wait, this was a true woman, this is whatever, but you know, I'm rooting for her like she's the hero. And and I think it it's painting some of the stuff that happened to her, you know, she had a rough life, you know, that led to certain things. And so if you weave those things in with the heinous things and you kind of like you you weigh it on a scale of, well, I can kind of justify something, you know, so it's not like a completely, you know, like uh Charles Manson or or Ted Bundy, who's, you know, you know, or Richard Ramirez, who are evil from the get-go, and you know, you know that there's nothing redeeming at all. I think there were certain things that people can relate to with her and you know, kind of take that one. Whereas a Richard Ramirez, it's hard to relate uh anything aspect in his life except, you know, maybe his love for dark shadows or horror films or whatever. Other than that, or ACDC. Uh you know, other than that, he's a very uh hard uh character. Having I wrote a script and we're doing that film next on Ramirez, and that was one of the hardest scripts I ever wrote. So this one was definitely an easier I don't want to say family-friendly film, but more more accessible to people than say the you know the Night Stalker, which is very, you know, uh, it's you know, a tough, tough film.

SPEAKER_01 16:17

Yeah, those are some those are some dark, dark crimes. And yeah, I won't I wouldn't say this is family friendly, but I will say that it is very much so uh uh an approachable horror film while still being distinctly horror. And it was really uh really nice balance. Um are there any and there are some really great practical effects in this. I think early on there's a bathtub scene. Uh please keep your eyes peeled for that. There that effect is just gnarly and cool. Um, but I wonder if there are any other effects in the movies that that you were really like, wow, we nailed this, we really got this done.

SPEAKER_00 16:50

Oh well, you know, Joe Castro, who I've worked with on numerous films, and he's just a joy to he pulls this stuff off every time, and it's it's always you know a pleasure to work with him. I'm trying, you know, the head in the bathtub is my favorite, and you know, so it anything and everything he does is is is great. I mean, I can't really pick one or the other, but on this one I would say definitely the bathtub is probably my favorite of his that pulled up.

SPEAKER_01 17:16

You linger on that shot for an uncomfortably long period of time and it works so well. I was like, oh, oh, oh, that's so gnarly, and uh it it it looks real and it's uh it was very unnerving. It was great. Um along those same lines, are there any sequences that you feel like, wow, we really knocked this sequence out of the park? This is like, or maybe like a favorite shot that you did in the film.

SPEAKER_00 17:40

Well, the split di after shot is one of my favorites. You know, Ezra Buzzington as chief is great. The burial scene of him was great. I mean, it's one of those things where when we were shooting it, it comes back where, you know, he's I'm like, you know, is it okay to get some dirt on you and bury you, you know, alive and in the act, well, for you, okay. So, you know, once you know, I'm shoveling the dirt on him, I'm like trying, you know, getting in his face, because I knew we only had numerous. Once his face was covered and it gets in his mouth, he's gonna jump up and scream. But he took it and was fine with it and waited till, you know, cut, and you know, it was great. And the scene, you you really feel bad for him. I mean, those, you know, the him talking about his mother and my, you know, she used to call me my boy. I mean, those things to me are like that's messed up. And for me, I can totally relate to that. My mother had a nickname for me, so working in things like that for his character and building it more than just some random victim that might have been. There's something to him, you know. He was a character that was a real character who did end up digging graves for her unbeknownst to what he was doing, and then ended up in in the grave. So, I mean, th those things, you know, going back to the victims, for me, it's finding, especially once the act the role is cast and the actor he's into it and whatever, and then getting uh you feel for him and what his demise, and that to me is the ultimate thing for a victim, whether or not if you're gonna as an audience member you're feeling bad that that person is getting killed, is you know, my way of you know justifying, I guess, for doing something that might be considered in some people's mind wrong, objectionable to do it. You know, you know, some people you know might think all true crime shouldn't be made at all because it's uh you know against the victims. So, you know, to pick out one victim or story because it's more recent than you know um uh Ted Bundy or whatever it might be, there's no justification. It's either all okay or none of it's okay, you know.

SPEAKER_01 19:42

Yeah, I think you're probably on to something with that. I it it's and it's it's you know it serves as a cautionary tale in some ways too. You can't turn a blind eye to true crime stories. Uh we need to be aware that these things are happening. And story is one of the oldest forms of art. We you know, this is how we communicate these things. Yeah. Um and that my boy was so humanizing. I was like, oh no. And I was like, please don't be lying, and then you just zoom in on that can. I was like, son of a bitch. Oh, um, and and talking about the themes and and and humanizing, this is a story, at least from where I sit, about survival at all costs, and it's a story about uh, as you so succinctly put it at the end of the film, doing things on your terms, doing things your way. Um, is there something outside of being an interesting character study that you'd like the audience to take away from this film?

SPEAKER_00 20:36

Uh, you know, I think it's it's just, you know, no matter how heinous she was or is, I mean, she overcame uh obstacles of messed up family, a messed up childhood, messed up marriages, messed up whatever, and learned a way to, you know, kind of scam the government, get all, you know, all these things, kill people, get away with it, you know. It's it's something that's, you know, I don't want to say admirable, but yeah, it's admirable. You know, any of these things, you know, as heinous as something is, if you take a step back and go, well, if you take, if she didn't do these negative things and put that toward positive, imagine the stuff she could have done, or she ran a business, or what, you know, there's certain things that you can kind of take away from people's mistakes and go, well, you know, if they would have done it this way or that way, and I try to think of my own life in that same way, instead of taking, if you were, you know, you know, arrested or whatever, you know, as a teenager, I was into check forgery. And, you know, I did all this stuff and whatever, and then I got caught. And then I spent three months in jail, and I quickly learned not to break the law anymore, and I learned my lesson at it. Whereas some people like Dorothea didn't learn and took it even a step further, murdering people. And you kind of think, well, what caused that? Was it in the brain? And you start thinking about what it is, but at least you're thinking about it. And as an audience member, whether you love the film or hate the film, you think about it and you go, Well, that's an interesting character. And then you research her. And you find out more about her, and you're like, well, at least they got that right. But it brings your interest to certain things, whether it's, you know, uh Dorothea reading Edgar Allan Poe or taking a riff off that, and then you're like, well, Edgar Allan Poe, that's interesting. That, you know, now I'm interested in that poem. And it brings you on to other things, not just a movie, uh a true crime film or a horror movie. It's got different layers to it that you hope m the audience will find entertaining, interesting, and you know, at least love it or hate it, you'll find certain things that you're like, oh, that was interesting, and now I'm interested in learning more about that. You know.

SPEAKER_01 22:37

Yeah. There's a lot of there's a lot of art bundled in this film. I love the idea of a twisted respect for her, and she she uh she didn't learn her lesson, she learned how to be better at it. That's that's I think that's really awesome. Uh in its own way. I mean, of course, it's it's it's reprehensible and morally bad, but no, you're right. It's you kind of have to have a twisted respect that she learned the wrong lesson. Okay, so uh I have a couple of questions that I ask everyone who comes on the podcast, uh, or at least some version of them. And for you, it is what is your favorite true crime or what is your favorite character study film?

SPEAKER_00 23:17

Wow. Uh I would have to say, you know, it's a toss-up between Helter Skelter and Henry Portrait of a Serial Killer. I just remember seeing Helter Skelter as a kid on TV and you know, being, wow. And then, you know, and then Helter, you know, Henry Portrait of a Serial Killer, I saw at the theater as even, you know, a kid, and just it seemed like it was right there happening. And for, you know, it was really, you know, one of those things. And that's something about not only true crime, but you know, even a documentary kind of feel to a film where you're like, you feel this is happening right now. I mean, it and still, if you put Henry Portrait of a Serial Killer in and watch it, it's like it was made yesterday. I mean, it's it stands up not only in its style and its you know, punch, but knowing that it actually happened is really even more terrifying. And then you get, you know, you start reading to, you know, I saw a thing the other day, Otis Toole was, you know, responsible or they feel responsible for Adam Walsh disappearance and murder and whatever. So there's certain things that you're like, oh my God, that hits. Every time you see, you know, his dad doing those commercials now, that you're kind of it it always sparks back into my mind, you know, Henry Porter was a serial killer, his partner was Otis Toole, and then you know, it leads you down this rabbit hole of now, I want to learn more about Adam Walsh and disappearing in that store, and you know, all these things that you're like, it's just intriguing to no end. And that's what's really fascinating about true crime, knowing that it not only did it happen, but it could happen again and it could happen to your friends, it could happen to you, it could, you know, there's certain things that it just brings an awareness that I think uh, you know, like seeing Exorcist 3 is great and it's an amazing film, but something with true crime is just more uh it hits a little more home because you know it actually happened, and you know, that that to me is what's exciting, and what's exciting about making them and giving the opportunity to make them is something thrilling because you get dive into each of these characters or these monsters and you you find out something that sometimes you you know you can't believe it happened, and you know it it it's it's exciting, and I'm you know I'm appreciative that I've got the opportunity to make them.

SPEAKER_01 25:31

Yeah, it's almost scarier when it really happened. So I have to ask, what is your favorite horror movie of all time? And you can name more than one. That's a tough question.

SPEAKER_00 25:39

Well, you know, I that is a tough one. I would say Zader and House of Laughing Windows by Pupi Avadi to an Italian director who's just so unsung. I mean, he's just amazing. Those two films are phenomenal. And anything and everything, you know, by Mario Bava. I mean, I'm huge on the style of his the color, and knowing that you know he did all this stuff, you know, on a limited budget and you know, with you know, just nothing but tenfold of talent. I mean, it it's it's that's what's more inspiring to me than huge budgets or anything of that. It's kind of, you know, even you know, Ed Wood's stuff, I'm hugely a fan of, you know, the underdog that gets these films made and gets them released and finds an audience. And, you know, to me, that's more amazing than any Michael Bay film or whatever it would be. Not that there's anything wrong with his stuff, but you know, if you've got limited resources and you're still able to tell a story, whether it's a good, bad, or whatever, and it gets out there and it finds an audience, that to me gains tons of respect.

SPEAKER_01 26:41

I love that answer and I totally agree. We're here to support independent horror. We're here to lift up these voices that don't have all the resources, but are still telling good stories and making good art. And as a fellow Italian film junkie, I have not heard of those first two films. And that's why I ask this question, because it's always add something to my 2v1. They're amazing. Absolutely. That's awesome. Uh, so where can people see the film? It's coming out November 4th.

SPEAKER_00 27:09

Yes, it comes, it's playing uh here in Los Angeles uh on Halloween for a week at the Lemley's Glendale, and it's playing on the 28th, actually, in Lemley's Santa Monica, cast and cruise screening. And anyone out there who's in the area is welcome to swing by and check it out. And then, yes, November 4th, it starts streaming and VOD and all that good stuff, and then a physical release probably later in the year.

SPEAKER_01 27:33

Well, I will be adding it to my collection. I'm I support physical media if you're out there. You never know when these things go away. Get the Blu-ray, get the DVD. Um, awesome. What are you working on next? I know you mentioned uh a little bit of a preview, but uh, what do you got next?

SPEAKER_00 27:48

Well, we just finished I just finished uh the flocked picture on Sunset Strip Killers, which is based on uh Carol Bundy and Doug Clark, who are two uh I guess it's kind of a nine and a half weeks true crime film where they you know kind of met, fell in love in 1980, and then went on a killing spree of about eight prostitutes. So it that film we finished shooting this year, and I just locked picture on the edit, and now it's getting music and uh color correction and all that good stuff, and hopefully it'll release uh by the end of the year, by early next year. And then in February, we're shooting uh the Devil's Disciple, the Night Stalker, uh on Richard Ramirez.

SPEAKER_01 28:34

I'm loving this series. Uh, and you have Ed Kemper that came before Dorothea, so check all of these out, any of these out. They are uh, you know, as far as I can say, uh, having seen what I've seen. Solid horror films, but also give you something to chew on and research if you're like me and uh love firing up the Google machine. Um where can people find you on social media if they want to stay up to date on the things that you're up to?

SPEAKER_00 28:56

I'm on Facebook, Twitter, Instagram, just type in my name and you'll find me.

SPEAKER_01 29:01

All right, links to those will be in the description as well. Chad, this has been a blast. I have such a fondness for your take on horror, your run and gun style, your love of indie horror, and honestly, we're we're united in our love of Italian horror. I can't thank you enough for joining me.

SPEAKER_00 29:16

Oh, well, thank you, and let's let's do it again.