Articles, Blog

Master’s of Terror: Toxic Avenger’s Lloyd Kaufman (Ep10)

February 13, 2020


(music) Troma is one of the the
longest-running independent film companies to this day and has
distributed over a
thousand films from what I understand and and as a
distributor what do you what do
you look for in a film when you’re considering something for
distribution it has to be something that when people go to a movie
theater and see a Troma movie they know in advance this is one of
the reasons we’ve been
around for 35 years they know in advance that they
may love the Toxic Avenger
or they may hate poultrygeist night of the
chicken dead but they know
they will never forget Tromeo and Juliet hmm we want a
movie that people after
seeing it in a movie theater will have been on a
there will be a they’ve been
on it they will have been on an adventure in the
cinema they will have been
challenged they will have seen something they’ve never
seen before and I think and
that they will be challenged that they won’t be
getting baby food fast food
movies about 99% of the films that are in movie
theaters are formulaic made by
committee politically correct baby food and you can
live on baby food but it’s
very boring and if it’s not baby food and you’ve
got fast food movies like
Speed Racer or you know Indiana Jones skull-fuck ER
which are like fast food
they taste good going down and then you really get
diarrhea so we reach we are
making movies that people have that have people
that people can chew on they’d
have some flavor that are our movies are the jalapeno peppers of the cultural pizza you’ve
been making films for
over 35 years and in retrospect in all the
movies you’ve made what
one of the three biggest pitfalls that you
see new filmmakers make when trying to sell their
finished movie once they’re
actually done with it what are some of the biggest
things that you see well the biggest mistake they
most of these filmmakers make
is they’re trying to make the next something or
other you know I can’t tell you
how many scripts I get right now where people is
want to make the next poultry
Geist mmm you know we already made poultry guys
it’s over you want to make the
first you know they should do what you believe in do
it is in your heart to their
own self be true that that would be the mistake I
think most filmmakers
make is they do not abide by the maxim to their own
self be true which as you
know was coined by William Shakespeare who wrote
that amazing
best-selling book 101 money-making screenplay ideas
otherwise known as Hamlet
and I think that the other mistake they make is when
they finish their movies a
lot of independent movie makers feel that it’s
beneath their dignity to go
out and horror for their art they you know they’re
willing to compromise they’re
willing to to copy other filmmakers or try to make
the next toxic avenger or
the next Quentin Tarantino movie but then though
they’re willing to
compromise in that way but then they feel that shelling is
dirty that being a merchant
is you know they don’t want to they don’t want to
dirty their hands by getting
out there and and selling you know and and I point
out that the Picasso was a
genius but he was also a great salesman promoter
and merchandiser whereas
van gock van gock equally is brilliant didn’t get
involved in the promotion and
during his lifetime I don’t think he I think he sold
one painting to his brother
for $50 you know the end he cut his ear off and
did all that stuff but he
he you know yeah obviously you know there is this
this this sense that to be
a true artist you don’t dirty your hands in the
world of the promotion and
Charlie Chaplin sure as hell promoted and he
died a rich man and Buster
Keaton didn’t get involved in that stuff and he
was bankrupt and they
both were equally brilliant so I think those are
the two big mistakes that
filmmakers make one they make films they don’t
believe in they try to copy
they try to follow rather than to do it’s in their
heart or to lead and the
second big mistake is they’re afraid they they for
what they they they feel
that they as artists shouldn’t go out and promote
their films the way I do at the
Cannes Film Festival right what is really free in
your experience what is
really the best way for a low-budget filmmaker to
finance their own film I mean
you know you know I’ve done crazy stuff where I’ve
pulled out my credit card
and still paying for it years later what what are
their what are some of the best
ways for people to get the money to make their own
movie the best way to get
the money to make your own damn movie is to get
your own damn script that’s
really good and having a good script you either
right or that you find I’ve
never had the money to hire top quality writers so I
write my own scripts and
and then partner so good script equals power point
number two is speak to
everybody tell everybody you know about your movie about
your project you don’t know
a perfect example when I was fine and when I was
making my first think sound
feature-length movie it was called Battle of Love’s
return I was coming out of a
movie theater and I think I was seeing it was strap
on Sally part eight and I ran
it don’t know maybe the strap on Sally part six I
can’t remember but anyway
anyway I ran into one of my Yale classmates in the
street and instead of
just exchanging platitudes when he asked me how
are you doing or what
are you doing I think he said how I said well
I’m making a movie and eat
money and he did someone to put some money up and
bingo my guy actually
invested and became executive producer and had I
been embarrassed had I been embarrassed maybe
Battle of Love’s return which
was the first Oliver Stone’s that was his first movie
maybe his career wouldn’t
have happened maybe that movie wouldn’t have
happened you know who knows but
so I would suggest that a get the script is in a
good script is power
and you can get financing by having a good
script in fact that says
that’s probably the best way to get mainstream financing
I worked on rocky the first
rocky and Stallone had the script that everybody
wanted they didn’t want him
they wanted a what they wanted the script and he
finally he finally because
the script was so powerful he finally found United
Artists producers who would
agree to let him star in it and then the other
thing is that tell everyone
in the world about your project no don’t leave you
know just no matter what is
your bus driver you never know yeah exactly you know in our modern times so
you know my wife and I mean
I’ve been making movies for 40 years and my wife
and I basically put up about
80% of the money for poultry guys night of the
chicken dead you know her
retirement money is in that film oh wow I told her she was
investing in transformers parts
don’t tell her but you know it’s very tough now for
independent filmmakers
yeah yeah you know I yeah I’ve never you know
I’ve always been upfront
with investors I’ve never ever tried to hoodwink
anybody I always tell the
investor hey you got to be prepared to lose every time
yes exactly but a lot
of people don’t say that and then they get their
movie made but they might
not get another one you so right now right now a
$500,000 movie like poltergeist that’s totally independent and
being distributed totally
independent it is very very questionable that it
can turn a profit how good it
is just because the industry is so consolidated
that’s not perfect leaves us
and these made an expert which was kind of in our
in our modern times are the
tools for making a film such as like affordable
digital 24p cameras and
post-production on your desktop and laptop and
everything has given pretty much
just about anyone the ability to shoot their own movie
it is also a feel like it has
also caused a little bit of a glut in the market place as far as when it comes to
selling things what are some
of the things like a filmmaker should do before
they shoot to ensure sure I
guess but to ensure their film will at least stand
out above the rest you know
usually have you know Joe Blow and some somewhere just
shooting something in a
bedroom and it could be up against you know if
I you know you’re
independent $500,000 production I mean how and how
does what what can a
filmmaker do to kind of ensure that there’s would kind
of stand out the rest well again
it’s a complicated question because the film industry has become basically a
cartel which blacklists
there is economic blacklisting in the mainstream
industry because the
media is vertically consolidated and is controlled
by five or six giant
devil-worshiping international media
conglomerates so as a result we
independents are economically blacklisted we cannot get our films on television in
America period unless we
come in through the through one of the vassals of
the majors like Fox Searchlight
or Sony classics or Miramax we are basically
blacklisted I’m the chairman
there is a trade association for independent
movie companies called the
independent film and television Alliance I’m the
Chairman I was elected
chairman I don’t we have I don’t get paid it’s an elected
position there’s a staff of
about thirty people but the reason I ran for
chairman and Roger Corman’s
company is a member Troma’s a member the people that
made crash the Award winner
the oscar-winning crash the oscar-winning monster
you know the pretty much the
main end of about 200 independent movie companies
from all over the world are
members of this trade association we are the the
equivalent of the MPAA for the
independence and Iran for chairmanship because this in
the consolidation of the
industry has gone much too far and we are using
our treasury – the board
has unanimously voted to devote quite a bit of
money to having a lobbyist in
Washington and we go down to Washington and Lobby
the Senate the
congressional committees the FCC Federal Communication
Committee to try to educate
them to the fact that independent art and commerce as
well as the delivery of news
and information is being swamped by these giant
conglomerates and
that it is very important also for us to
maintain net neutrality
on the Internet that the Internet has to be kept
open and democratic and free
because it’s the last democratic medium and the
phone companies and the
major studios are against net neutrality they want
to get rid of it further out
because they want to have the internet like CBS ABC and NBC where there’s only you know
they want to control the
pipes that go into your home and even then they
won’t be a focal press won’t
have a you know no one will go to the focal press website or to Troma’s website or if they do
that it’ll be like public access
TV they’ll have to spend many screens to find
it if they can find it so so that’s the one hand but
then the good news is that
for the first time as you eluded for the first time
in history the making of
cinema the making of visual entertainment has been
democratized so that
anyone you don’t have to be rich to make a movie
in the same way that
automobiles when they were first manufactured they were
very expensive you you had
to be rich person to have a car really rich and
and then after the Nazi
anti-semite Henry Ford invented the Model T everybody
can have a car from then on
cars were you know middle cut everyone has a car
and that that’s what happened
with cinema I’m not Nazis anti-semites but but through technology now the the making of
films has become democratic
so then anyone can make a movie you don’t have to
have you know fifty thousand
dollars or a hundred thousand or five hundred thousand or fifty million or 100 million you
can make a movie for nothing
with the miracle of digital technology so that’s the good thing that’s the great
thing and there is a tsunami
building up that is going to swamp the corrupt
and and arrogant elitist Time
Warner’s and foxes and Viacom’s it’s only a matter
of time it’s only a matter of
time yes there is a there are there are two too
many bad films maybe but out of
those too many bad films they’re going to be too many good films that are going to
displace the the fool’s gold and
the Chihuahua and all this crap that there were and same with the
television to this garbage on
television non-stop Talking Heads and reality shows
you see TV they got rid of all
the rules on television too they used to be something called the fencin rule that
prevented the networks
from owning their content and also required the
network’s to license 35% of
their content from independent sources that was up
and that was during the 60s
70s 80s and Clinton’s on Clinton’s watch the FinCEN
rule financial syndication
rule was done away with and as a result you have a
General Electric owning these
reality shows and Fox owning you know MSNBC owning this whatever business keys business
keys you know Carter’s
security a directors daughter has got a show on MSNBC
that’s and she just sits
there and talks you know nobody wants to see that I
mean people watch it
because there’s nothing else and then of course the New
York Times who needs
advertising from Fox promotes it so it’s it’s a
horrible horrible situation
but I believe that the technological revolution is
going to swamp these this you
know the arrogance of these overindulgent
mainstream media who worship at
the shrine of a big budget you know in the value
system they impart which is
crumbling now and I believe that the current
economic crisis is not just due
to to the the banks I think it’s due in large part to
the media propounding this
obscenity of you know let’s look at Jennifer
Aniston’s $50,000 diamonds
at that on the ski slopes of Sundance you know
rather than talk about a movie
you know let’s look at the let’s watch the red
carpet with how much did
that dress cost she’s wearing two million dollars
worth of clothing or
underwear is this is we’re supposed to admire this so this
is all falling apart and I think
a lot of it has to do with the digital revolution the information you get on the
internet being the fact that
there are thousands you don’t have to be in
Hollywood in New York
anymore to make a movie we have filmmakers that we
distribute one guys works in a
liquor store that’s where I like them and it’s a
lease made about six movies
feature length films know they don’t make them a lot of money but
they each one makes a little
bit for them and at some point they’ll throw off
enough revenue so he won’t
have to work you know and he will be able to work
full-time on his movies but he’s
not going to have cocaine hookers and swimming pools and
all that but it’s but so I
think that’s terrific that they’re you know David Kerr
David Carr I don’t know you
pronounce his name wrote a very snotty article in
The New York Times kind of
suggesting that there’s just too many
independent movies this is a
terrible thing there’s so many they’re just clogging up
everything they get in the way and sure that’s
what the major media wants
you to believe yeah there is low class digital
movies you know we they
shouldn’t be we should have more we need more movies like
fools gold and 27 dresses and
step up the streets part to step up part to the
streets that’s what we need
50 million dollar pieces of absolute shite see
that’s the way it is though
that’s what the media’s propounding and it’s a
club they control the club so if you bring out a
movie like poultry guys
night of the chicken dead which had the highest
grossing screen in the country
when it opened you are ignored you know the New
York Times will review you in a
little tiny column but Harold and Kumar which is
you know the the lead
critic of the New York Times will twist himself into a
pretzel to suggest that the
Harold and Kumar part two is the the the farting
and and that movie is
is something that is socially significant
it’s a reflection of the
you know there all sorts of social like
sociological significant
on a movie that sucked yeah just because it’s
whoever it is paramount is
something I don’t remember who distributes it but that’s
the issue there you know it’s a
big problem it’s about so on the one hand it’s very depressing and I can see it as
you know I’m chairman of this
trade association and 200 of our members are
choking because of the
majors and the cartel that we’re the impenetrable
television market but on the
other hand you’re this tsunami of independent
digital art that is welling up
and is going to just flood hopefully flood and get
rid of all this garbage that
kind of that actually brings me right into the next we have to preserve net neutrality it’s
very important if net
neutrality goes then we got a problem yes your films are
all shot in 35 one yes but
we distribute a lot of films and we finance
films that are digital and you
know younger people who know that medium better well
I think that’s great because
I mean I’m I love so I mean and and and it’s so
cool it used to shoot on a
lot of people seem like they’ve kind of went over
to digital or do no not
the digital bad there’s some beautiful 24p it
just depends on a lot of
things no film in my opinion looks a lot nicer our
fans love film and I did
poultry guys done film that great difficulty and great
expense to mmm you know
give our fans the pleasure of watching a nice
crisp 35-millimeter print
185 aperture and they’re in the communal
situation in the dark well the I
guess the question I had on that my point was when
choosing a format what is best
film or digital but also what what format is
actually a little more for
somebody that wants to sell their movie what format is
more sellable as 30
something you should own 35 more sellable than something
you say you shoot on 24p
you know cine also camera I think you know we we
distributed the very
first movie that was distributed on video movie
called redneck zombies nobody
would distribute it not because it was a bad movie but because
it was shot on tape that
was the first first movie that was distributed on
tape that was a real movie yeah
I mean maybe there was stuff you know who knows
there may have been
experimental stuff and and it did great it was very successful
because if a film is
provocative and interesting and entertaining you can film it
on toilet paper it
doesn’t matter the public will support it but I
just happened to still prefer film it just look
so much more beautiful even
and and the 24p is getting to the point where I
think where it’s this red camera
this camera yeah I think that I think that you can
probably come close to
shooting you know to shoot on that and then transfer to 35
if necessary but it’s
still different and it still looks different but you
know it’s just I’m older
than the than the gamers you know the gamers are
so used to video games that
they to them the 24p looks beautiful and but the
proof of the pudding is that
sorry the proof of the pudding is in the eating you
shouldn’t say the proof of the pudding you proof of the pudding
is in the eating and the
eating is that redneck zombies was successful
and and in an age when no
distributor they live there was just no distribution
period unless the movie
was shot on film and because it was compelling
people embraced it so you
know you look at a movie like crank part 2 it’s
clear it was on it’s clear I
think or crank 1 both of those films the crank
you hasn’t come out yet but
you know they’re beautiful and they’re shot on
digital but they are beautiful
but it’s a different kind of and I think that the younger
people who have spent there you
know from the time they’ve been born you know
they’re they’ve been raised on
video games and I think they are much more
appreciative of that medium than
you know for me it’s distracting to see just have
that video look the strobing and
all that stuff I I still can’t quite get my arms on
at one point you had
actually you read an article that claimed that horror
films were dead and you
had the idea to combine horror and comedy and
the toxic avenger was born
this genre combination seems to be a popular one these
days and in your experience
what are the what’s the key key components to have
in a horror comedy you
know like certain certain have their you
know comedies have certain conventions horror has
certain agenda genre films have
their own in your experience what are some of the key components to have in a horror
comedy well Peter Jackson
and James Gunn and a couple of others suggested that
we invented the slapstick Gore
movie that is not a very smart way to go because both horror and comedy ride the
back of the bus and
certainly comedy is so subjective what’s funny in New
York may not be funny in Hungary
yeah or not even it may not even be funny in Arkansas so the fact that you you’re if
you’re much you’ll reach a
much wider audience probably by not combining
slapstick satire with with
horror and gore so you know true but on the other hand
maybe that’s why Romo so
successful or well known at least is that we’ve kind of created this Cuisinart of genres
we mix in the case of
Romeo and Juliet for example we mixed eroticism I am
big pentameter
Shakespeare horror and slapstick satire in poultry guys
we took it a step further we
have singing and dancing along with horror and
slapstick satire and you know
erotic scenes so I can’t say that there’s any you know I think that that that should not
be what we do I wouldn’t
advise it and I was I specialized in satire basically
all our movies are comedies
and comedy is is probably the most difficult from
the economic point of view or
the distribution point of view specifically because it’s so subjective
and then to throw in controversial scenes of gore and
eroticism and then you know the
people who like horror may not like the fact that they’re singing and dancing
in the middle of poultry
guys and the people who want to whack off they may
not like the fact that you
know you’ve there too many you know they’re singing
and dancing in the middle
of a little big lesbian scene you know it’s III
I wouldn’t I don’t think
there are rules to this game I think what you do
is you do what you believe
in and you what interests you and and I think if
you look at the Troma body of
work over the 35 years you can find a very interesting satirical fond satirical look of
our culture and entertaining
guests controversial yes perhaps disturbing to certain segments of the
population but nonetheless if
you take the film’s as a group there’s quite an
interesting observation of
society and the political tenor of the past 40 years Is it necessary to have a star
in film for it to be sellable or
are there certain like
non-actor related elements that can be just as valuable to
a distributor whether
it be say if you don’t have a star but you have a
great monster so you have or
you don’t have a star but there’s a ton of gore
in it you know is our there is
that is is there something that somebody who can’t afford a star guess what I’m getting at
somebody that can’t
afford a star for that sort of thing is there
something that they can have
in the movie a lobby besides the obvious good script
good you know cinematography
directing so and so forth that would make it more
valuable in the marketplace well first of all I personally
don’t care for stars because
it’s a unless you have the three or four stars
that actually can produce
ticket sales and they’re very few of them stars
are useless in fact they
their detriment because instead of looking at at
our be the star of
poltergeist you’re looking at Ashley Crutcher you know I
mean who wants to you know
it’s more fun to art be the guy who plays our B we
don’t know that guy who I don’t
even I came across his name but our B that’s our B in poultry guys when the toxic
avenger we created our own
star with the toxic avenger in 1980 when it first
came out in 1984 nobody knew
the toxic avenger is now he is with no advertising
the toxic avenger is more
famous than probably 99% of the young actors who were
heavily promoted who started
in 1984 or even who are around in 1984 actually said
so I I think you make a
mistake necessarily by feeling that you gotta have
stars and I think in some
cases again unless you have the the big big big I don’t
even know who who I mean you
know they are I guess that these days Russell Crowe or Leonardo or though you know
unless you have that math at
that level I think they’re worthless because they
they just infect people go
to a lot of those movies in spite of the be movie
stars so you know I think
they just become a distraction and there’s some you
know the so I I just
have no interest whatsoever but I think that
again what you said was the
obvious you know and you said it was obvious have a
good script and I think you
want to try to I think the smart way to make a
low-budget independent movie is
to aim at some kind of an audience you know if
you put a gun in the movie people look at the
screen a gun makes people look
at the screen you put a monster in a movie there’s
someone’s gonna buy a ticket if
you have a monster in your movie somebody will buy
a ticket if you have a vampire
there are people go to see every vampire movie no matter what they’ll go to see it or
they’ll buy it you know that
so that might be a better backstop you know and
then having Stanley Tucci in
your films right so it is it is kind of creating you
know for somebody that wants
to create you know like Toxie I think is that what
you said is a great example of
something that but you know you know monster that
became you know can’t do this
maybe they should concentrate on their monster on almost treated as if that were their
star and put the character I
mean coxy had you know had had all you know had
character you know it had you
had things about him that people day you know we were
just starting to develop v Toxic
Avenger movie I haven’t even talked about it in I get so much mail on my people
who want to sleep on the
floor and work on it it’s unbelievable and there’s
something about toxic avenger
that we got lucky you know the character is just for some reason the great character but I
think again I don’t think
you want to get into the formulaic movie because it’s
this is an art form and
was he gonna be formulaic why not just make
something that people want
if you know you can sell their shoes or what
brett-brett nice bread right why
why good if you’re gonna just copy here just try to
figure out the
paint-by-numbers thing I think you’re better off you know
making selling fish yeah you
know that’s a cash business – they can’t nobody
knows how many fish you so
can actually make a profit so I think your best bet
with the movies yeah are they
the only the only kind of formulaic advice I would
give is you know try to have something in your movie that
will ensure that somebody buys
some tickets right you know a romantic comedy
probably unless you have you
know the Jonas Brothers or whatever I don’t know I don’t even know who would be in
it but unless you have the
big stars it used to be what Julia Roberts or
whatever yeah romantic comedy
you know unless you have the big big stars you help will
show up at the box-office it
is possible it is possible that nobody will show
up but again there are no
rules to this game because there’s a horrible
horrible movie called once
that is the biggest hit of the year and and there’s
nobody in it it’s a romantic
I don’t even know what it is it’s a romantic movie
with some crappy song
it’s awful horrible movie but it’s a huge hit every
critic loved it it’s plays
for months in the movie theaters it won a big
award at a lot of festivals
obviously I’m on the wrong wavelength for sure but but that was then that was kind of a
romantic comedy kind of a
thing and had singing and singing in it and but boy
for every where every once
there’s the battlefield is littered with the bodies of
dead romantic comedies that
didn’t have Julia Roberts and even with her I mean we just had a movie called the women
that was the should have been
called insult the women and that had every big
female star and was a huge pump
100 million dollar film the point is if you have
something in the movie that you
know if you if you try to if you don’t have a lot of money and you’re making an independent
movie you could
consider trying to put something in the film that
somebody might show up for
yellow monster a gun some naked people not not all of that but at least one of those
elements and then try to make
the most original true to yourself movie
something that you truly believe in something that
is what you might want to
call art and then you know at least if at least
somebody’s going to bill if it vampires vampires someone’s
gonna buy ticket because
they’re people to go to see every vampire movie they’re
people to go to see every
monster movie that people go to see everything
that’s got a that’s got some
section you know someone will show up but to do it
as a formula I think would be stupid I think
you can you know if you’re just
doing it to make money it’s not worth it right be better festivals a scam or a necessity
we set up drama dance in 1999
as a reaction against Sundance because we felt
that Sundance was
exploiting independent filmmakers who were sending in
their money to submit the
movies yeah and then not getting yeah I mean Trey
Parker and Matt Stone who said
cannibal the musical because I’m paid them paid the
entry fee and never even got a
you letter yes and so they so that’s what inspired Troma dance there’s no entry fee
you can watch the movies for
nothing and there’s no VIP policy and it takes place in the same town and at the same place
sorry at the same town at the
same time at Sundance oh and everything is free and so
you can submit your movies
for free you can watch them for free and no VIP
policy and it’s right there
during Sundance so the people involved with the
Troma dance get to thank you you
get to meet all the get to see all the big shots
who are running around this
little town of Park City you know they’re they’re
working on you know volunteering
on Troma dance and showing them all these a Troma
dance but meanwhile they’re
also in this big soup of Harvey Weinstein and and
Mickey Rourke and whoever
else they yeah they’re all these people walking
around the streets of Park
City it’s only a tiny little village you can’t
not bump into critics and media
people and movie stars and so it’s kind of a nice thing but I agree
with you that the the the
film festivals in Hadj part are there because the
public would like to see a
variety of films and the public cannot get a variety
of films except by going to
film festivals and the big film festivals you know
the Sun dances you know in my
opinion it’s fixed you know if the big PR firms and
the big studios and the and
the big producers representatives and the big
lawyer boys and agents they use
Sundance to promote the movies that nobody wants to
see basically the movies
that they own and control that they can’t release
you know in a in a big time
way and so that was we reacted against that and but
there’s a you know you
mentioned you know hundreds of thousands of
festivals all over the world
they would not exist except for the fact that the
public wants to see a
variety of movies and they you know they’d like to see
yeah you know I just came
back from citrus in Spain all these movies that they
practically every movie
they showed in that festival it’s si T GES it’s
Catalonia every movie
they showed was a terrific and none of them I
think almost you know 90% of
them probably will never ever get distribution
anywhere and yet they’re great and the public and
the theater was full you
know when when poultry guys played the theater
was a packed you know
they they it’s this other I think to some extent the
the proliferation of
film festivals it reflects the the demand by the
public for variety of films
rather than having the same film on every screen
when poultry guys played in
New York we had one screen in a comp in a movie
complex you know theater in
Manhattan and we were the number one move though
then was the night the week we
opened we had the highest growth in the country at
that’s great and and if it
wasn’t the highest it was definitely second highest
there’s some question that
maybe there was something bigger than us in some
other theater in
California but it isn’t we it looks like we were number
one but we’re definitely
the second highest screen in the country and yet a
third week we get bounced
because Indiana Jones has got to take all the
screens in our cinema right and
and we luckily we found another movie theater but you know you you can’t you just did all
your momentum is
destroyed if you have to leave that if you have to change
screens so so but the public
wants a variety of films so that’s why they all these movies that’s why there’s so
many film festivals
they’re not there you know they’re there they’re
in large part because
they’re selling tickets they wouldn’t survive if they
weren’t selling except for Troma
dance which is totally free which is a horrible business model and you know that

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