Weird, Wild, Cinema with Doc Sleaze

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. Yeah. I mean, some of the films themselves, they're quite interested in the background of making them. There was one made where all the Nazi concentration camp sets were actually the sets from Opens Heroes repurposed after the Soviet Union, produced by Bork and Kupfer, along with a lot of German uniforms. Right. Yeah. That's bizarre. But Hogan's Heroes is one of those bizarre tales in and of itself because of its history and twists and turns. Bing Crosby was the producer of Hogan's Heroes, which is kind of a weird tangent as well, if anybody remembers who Bing Crosby is. But yeah, to have a sitcom basically of World War II POWs is just at a time whenat that time, a lot of the viewing public would have been veterans. They would have been POWs. Yes, they would have been there. If you watch British war films in the 50s and 60s, one of the predominant sub-genres is POW films. Because for the British soldiers, because of Dunkirk and so many captured there, that became the predominant war experience for a huge section of British war veterans. That's what they remembered. So they made films about it. But isn't that interesting, though? You would think that they would avoid that subject because it probably wasn't the best. I can't imagine that the Nazis were great hosts even to the people that they weren't exterminating. Well, it depended, really. I mean, the thing that meant that they weren't treated wellextremely badly at most Allied bases. We won't kill you. We'll just beat you a little bit. There were a lot of German POWs incarcerated in the UK and Canada and they didn't want them to be mistreated. So it was a good pro quo. The Luftwaffe in particular, they ran the POW camps for Allied airmen who'd been shot down. Of course, there were a lot of lot of Luftwaffe crewmen incarcerated in the UK after the Battle of Britain. And they were mistreated. They mistreat the British and American POWs. Soviet POWs, different matter. They didn't care about them because they were Slavs and therefore saw them as basically subhuman. Right. Yeah. Hey, that's great. Well, Well, if people haven't figured it out, uh, doc is British and he lives in great Britain. And so, I mean, even, so I had relatives, you know, like great, uh, uncles who were in the world war two, right. And so forth. And we're still alive whenever I was little. And, um, and so, yeah, I mean, it is a different thing. And, and in America, we didn't suffer, um,the same way that the British did. Cause you know, if you watch the archives, the, you know, everything got bombed and, um, yeah, it was decimated in some areas. And so we did not get the, we got the experience, you know, you can't have chocolate and you guys, uh, had to hide in the underground. So, yeah, exactly. It's a, it's a key thing that British and American war films, um, they reflect two different experiences of the war. So many of ours, there's POW camps, and also it's about the home front. It's about being stoic in the face of this onslaught, which you couldn't do anything about if you were a civilian. You got bombed whether you liked it or not. Convoys were being sunk. You didn't get food. You didn't get bananas. Bananas became unknown in Britain during the war. Of course, to the US, the US homeland wasn't under threat. That wasn't an experience.their experience of World War II focuses more on them being victorious. Right, yeah. We're winning. We're going to win. You start with Kasserine Pass in North Africa. But then after that, it was generally a more positive sort of experience. Yeah. Any war can be positive. Well, I mean, if you think about movies as a business… those movies made a lot of money. And so it was very positive in that regard. There are many, many good American war movies, but they do reflect a different perspective to British war movies. And if you've ever seen German war movies, obviously they have a very different perspective. They're very perspective about why they followed the Nazi leadership for so long and all these moral questions. Japanese war movies…were interesting because a lot of them were made by the same people who made Godzilla films. And they have lots of miniature ships and things in them and planes and these huge battles. That's interesting because, you know, I don't think that I've ever seen, personally, I've ever seen a German or Japanese war movie. They do turn up at Europe so often. The most schizophrenic are Italian war movies. because they were on the wrong side for most of the wars. So Italian war movies are full of Italian actors pretending to be British or American. And the villains were always Germans, never the Italians. The Italians very rarely feature in their own war movies. Interesting. Yeah. See, that's why we don't get that over here so much. Being in Europe, I think there's a little bit maybe more access over the years. Yeah.now it would be, I suppose there should be access with streaming, but it's not, you know, we're kind of past that that date and I the goopy thing, what really hits me in the head when you mentioned that was the fact that I took, I have a film degree and I took a class on war movies. And I was thinking back and I'm like, we never, I don't remember ever watching a foreign war movie. We watched British movies, we watched American movies, but I don't remember watching anything outside of that unless… And I'm pretty sure this was in the Japanese movie. I watched a movie called Hiroshima Mon Amour. I don't know if a Japanese made that or not. It's a very interesting movie about… French, okay. Yeah, but it was… Yeah, well, maybe the Mon Amour would have gave it away to me. But the…about the, uh, atomic, uh, you know, Nagasaki and Hiroshima. And it's, it's, you know, an extremely sad movie. Right. Uh, and, but it's also quite artful if that's possible. It was. Yeah. you see french different experience again with their war movies they're all often about the resistance. Right. Oh, right. Yeah. Exactly. Why wouldn't?...