Hello everyone and welcome to the Trash Mix podcast
and today we have a special guest and you've
probably seen him around LA, probably seen him
around DOC, maybe Texas. Out in the Dino. Oh
yeah, I forgot about that, yeah. And it's none
other than Mikey Geary of See It On 16mm. What's
up everyone, how y 'all doing? Tell everybody
who you are, what you do, exactly. My name is
Mikey Geary, I run something called... see it
on 16 millimeter um this all started while i'm
about to hit my five year of touring and doing
this but basically bringing film prints to theaters
that don't have film anymore um this kind of
all started because i was commuting a lot to
like central LA to hit up some of the theaters
to watch stuff on film and I noticed like a lot
of the theaters outside of uh central LA like
really don't show film anymore so it was like
one of those things where I was like uh how do
you kind of bridge that gap so people can uh
experience watching a movie on film and um you
know thanks to Trevor uh Frida Cinema was able
to start playing it in theaters and started working
with other theaters. So I've been doing this
for, geez, next month is going to be five years
now. So basically, so basically Frida and Trevor
were responsible for this. Yeah. Yeah. Shout
out Trevor. That's the dude right there. It happened.
I think it was a father's day during the first
year of the pandemic. He came over and we watched
the double of Rolling Thunder and Death Wish
on 16 in my backyard. And he was like, hey, would
you want to do this at the theater? And I think
it did like a member screening. And then we did
the first like. public screening in december
five years ago now what the fuck do it again
yeah rolling thunder yeah it was a sick uh it
was a sick double the print was faded as hell
but like also the print was missing like 40 minutes
literally and the movie was like under an hour
and 20 minutes the the print that i found in
san diego and uh it just kind of got to the point
and it kind of cut out all the uh the all the
good shit oh no no it was all the good shit but
it cut out the relationship So it literally went
from him losing his hand to him going to dinner
with Tommy Lee Jones. Like, it cut that much
out, but it was sick. Oh, shit. Yeah, thank you,
Trevor, for everything, man. Well, we have you
on here because we're talking about a special
16mm print that... So you and Armando kind of
have a little bit of a history with this print
because you guys have now screened the print
of the movie that we're going to be talking about.
a couple of times already so i don't you want
to uh go a little go a little bit about that
armando you started yeah mike you can you can
chime in yeah i actually pointed it out to mike
what was the guy saying that we got the print
from the first print the first print was found
in i believe it was in new york and it was my
my buddy evan yeah evan yeah he has a sick collection
yeah evan evan had the print and uh he offered
it up and um armando and i were just like yeah
let's pick it up like you know a lot of mexican
films and stuff showing up on 16 it just really
doesn't happen much um so it was one of those
things where it's like you know what let's go
through with this let's let's start screening
this kind of a no -brainer to pick it up right
yeah yeah i actually really like that movie too
i was like oh fuck i remember this movie because
i've seen it on tv like a lot like growing up
i was like oh shit and it's an english version
which i've never really seen before Yeah, there's
like a we'll get into that, you know, version
of it because there are two. There's an English
version and a Spanish version. And we're going
to kind of review the English version just to
kind of keep it, you know, in the in the context
of the movie that people have seen you guys screen.
Mikey, tell us what what's the name of the movie?
A Hundred Cries of Terror from 1965. um this
was uh not i had not seen the movie until uh
i told armando about this print and he was like
oh you need we need to get this like this is
actually like really good and learning that it
was a basically a two -part anthology um it was
fantastic like we've had such a blast we now
have we we you know bought another print of it
with another print came up from an old rental
house that we found about a year ago and it was
a little bit better condition and we're just
you know we've been touring the print around
we did a quick screening in la and then um we
showed it again in uh at the texas theater um
and yeah we actually like i don't know if you
remember that but we flew out with the projector
and everything and the uh yeah i remember getting
stopped at tsa because they were like what the
fuck is this bomb that this was trying to bring
on this fucking plane Yeah, no, it was awesome.
I literally tried packing it up, and they literally
dismantled the entire package that I was trying
to bring on the plane. But it made it there,
and we were able to screen it. And then we just
recently had a screening at a philosophical research
society in Los Feliz. It felt pretty appropriate
there, actually. It really did, yeah. If there
was one movie, because we have just a couple
prints. that we can screen of some of these mexican
films on 16 um so it was that movie i was like
oh this is gonna fit very well and i think everybody
that showed up they were pretty stoked on it
for the most part yeah a couple people that i
knew that went they were like yeah that was really
good i never seen it yeah yeah they were excited
to see that one And it's been, like, I think
this is, like, honestly probably the best you
can see this movie because everything else that
I've been seeing has been, like, really shitty,
like, VHS rips. Yeah, very grainy. Yeah. Audio's
kind of eh. Yeah. Yeah, even, like, when we start
breaking down the stories and stuff, like, the
audio clips I went through, I have the Spanish
version on my hard drive in my digital archive,
but. The audio is so fucking bad. It's really
bad. I spent like maybe three days trying to
fix it. There was no depth in it. You try to
take the highs out to eliminate the background
noise, like the static, but it would just completely
drown out. It was just bad. I even told Armando,
even the clips that we're going to play for the
movie in this episode, it's going to be the English
version, unfortunately. It is what it is. It's
the best quality version that I have, at least.
Yeah. Because I saw some of the rips on YouTube.
I was just curious, and I was texting Armando
during it. I was like... is this really the best
it looks like? It was like this grainy washed
out contrasty kind of choppy type of a video.
And I'm like, this is pretty bad. Like, and it's
just, uh, yeah, no, it, uh, I'm just glad people
were able to see it like this. Cause the print
looks fucking great. And I thought it looked
really nice on the, on the big screen. So which
version did the people in Texas see? Cause I
was, you know, obviously I was there at that
one. Was that, is that the, cause you said you
had two different prints of this now? Armando
and I, We had an original print. Okay, so that
one, the one that was at Texas Theater, it was
the first print that we had. Yeah, that was the
first one. Yeah, and thank you to everybody at
Texas Theater for allowing us to do that, Chad,
and Hope setting us up with everybody there.
We really appreciate it and hope to go back to
Texas soon. But yeah, that print was the first
one. So I did a buyout of like... bunch of old
rental films right here in Eagle Rock at a storage
unit and I texted Armando and I was like They
have a hundred cries of terror in this, in this
bio. I bought, I bought about like almost 116
millimeter films from this buyout. And I just
literally, the guy opened, opened the storage
unit and the box was right there, literally looking
at me. And they said a hundred cries of terror.
And I'm like, no fucking way. I was like, no
way, dude. And like looked at it and it was actually
in better condition than the first one. So, I
mean, you know, why not get a second print of
the movie itself is good but you know you bring
up an interesting point or i guess we were kind
of talking about it a little bit because there's
two there's the spanish version and there's the
english version and um obviously you guys have
the english dub but that was created by um k
gordon murray who was kind of like a um I don't
want to use exploitative producer, but that's
kind of what he was because he would take, you
know, especially Mexican movies, he would take
Mexican movies and redub them into English, retitle
them, and then just kind of release it into the
masses for the American audience. Yeah, he was
very gimmicky. So he worked with Kroger Babb.
If you don't know who Kroger Babb is, he was
an exploitation filmmaker. He learned a lot from
Kroger. So he was pretty schemey and weird like
that. Yeah, anyone who's seen the VCI versions
of the Santa movies that they put out on that
box set where they keep calling him Samson. That
was... Yeah, the black and white ones? Yeah,
that was Gordon Murray. Oh, wow, okay. They did
him in Miami because that's where he was based
at at the time. So he would just hire a bunch
of random actors and do them in Miami. Yeah,
I read a little bit of an interesting story about
him because I guess he was like a carny in the
30s when he was kind of like growing up and then
came to Hollywood in the 40s, worked with Cecil
B. DeMille. Yeah, literally all the weirdos.
Learned trades from him and then moved to Florida
and was like, fuck it, let's release these movies.
He dabbled in the porn industry. a little bit
too right i believe so yeah i think there was
something on the rialto report the that they
were talking about k gordon was like a producer
that was like involved in some of the stuff that
was happening in miami and the dude they were
saying he was just very smart with the way that
he executed stuff and like um but like geez like
some of the stuff that he did put out like is
just uh You see it still kind of pop up these
days with Sinister Cinema and all the stuff that
they used to release. It was mainly all the K.
Gordon Murray stuff. No, it's awesome. I'm glad
that people were able to see some of this stuff,
but man, I wish the quality was a little bit
better on some of these. Yeah, I mean, I would
imagine that some of these prints are... I mean,
either non -existent at this point or just, you
know, extremely scarce to find. But it would
be dope to find some of these. Well, I mean,
what do you think? Do you think he was really
I mean, I'm sure he released the majority of
these on a 35 millimeter print. But I mean, obviously,
you have 16 millimeter prints of his work. So
what do you think would have been like the like
the comparison between a 35 and a 16 millimeter
print or as far as like. um you know how he was
releasing these movies i think i honestly think
i've seen a majority of them because like you
don't really see much of the 35s of these i think
these were just all kind of like duped and like
sent out to be played for like television stations
and stuff like that and like um and everything
that he uh he basically like was doing it kind
of seemed for like smaller type of things like
uh like in home or something like that or like
i said running for television it didn't seem
like there was really i i have not come across
much of like actual like 35 stuff from that and
then most of the 16 prints i would even say with
the hundred cries of terror print that we have
that it's just a really good dupe from possibly
like a 35 or something like that because it you
can tell some of the differences that it's like
that would contrast stuff where it's like it
this is not an original but it's actually a really
nice dupe of an original print um yeah well he
wasn't the king of the kitty matinees for nothing
i mean i read that he uh the renee cardona movie
that he put out the santa claus that was like
One of his only movies that was successful and
ran theatrically for three decades. He was able
to make money off of that fucking movie. And
then the Mexican producer, the color of him,
they didn't even know who he was. They didn't
even know that was going on. They literally had
no idea. It's all illegal shit. They didn't even
know who he was. They're like, who the fuck is
that? They had no idea who that was. They never
authorized it. You already know. That's the nature
of the business, especially at that point. But
let's kind of get into it. Obviously, you guys
know by now we're talking about 100 Cries of
Terror, a .k .a. Cien Gritos de Terror from 1965.
I actually really like this movie a lot. I'm
sure the people who came to see it at some of
the screenings that you guys have had probably
like it a lot, too. Yeah, everybody that I know
that came to see any of the screenings that we
did, they all had. pretty positive things to
say there was never one like oh it was just okay
they were like no that was actually really good
i think that comes or stems from the fact that
you know so the director uh his name is uh ramon
uh obon obon but um he was primarily a writer
This is his only movie that he ever directed.
That was literally the only one, yep. And then
on top of that, he had two cinematographers that
were super well established. And his shows, too.
Yeah, that's one of the key notes that I have
written down here was some of the shots in some
of these movies. But let's kind of go into Ramon
a little bit because, like I said, he was mainly
a writer. He actually wrote... The Enmascarada
de Plata, which we talked about a little bit
in the Santo episode. That's like the precursor
of Lucha films. I guess technically would be
the first quote -unquote Lucha movie. An attempt
at a Santo film, sort of. El Vampiro, absolutely
legendary. golden age uh mexican horror um another
you know legendary sequel um which to me i i
found it's really good love that yeah that one's
really good um hopefully we'll talk about that
one you know somewhere down the line and then
he did el pantano de las animas which is like
a kind of a horror western has like a gill man
quote unquote i gotta watch that i haven't seen
that one a spoiler that's not really a gill man
but yeah i mean i didn't i didn't think it would
be that was also that was that was that was one
that yeah kate gordon also did a dubbing of as
well oh so it's out there then yeah you can be
mentioned too in the elven fetal uh set that
indicator put out they actually talk about the
100 Cries of Terror screening that we did at
the Texas Theater. Yeah, Abraham Castillo Flores.
Yeah, he mentioned it to Ramon Obon's son about
that. He's like, oh, he thought that was pretty
cool. And he does mention that in the Blu -ray
feature. Yeah, the marquee and everything. Yeah,
we gave him a copy of the clip and everything
and the marquee. so you take notes if you haven't
bought that box set man go out and get it yeah
yeah that's actually yeah if you really want
to learn more about ramona bone yeah you gotta
get that blu -ray it comes with both movies doesn't
it yeah and now it's one of the vampiro yeah
yeah so it goes with both movies and then a really
good like little feature on ramona one yeah shout
out to abraham man what a fucking dude um yeah
so basically the uh um It was produced by Antonio
del Castillo, who also produced, you know, El
Mascarado de Plato. But one of the standouts
for me, and I don't know how you guys feel about
it. I mean, obviously, by now, hopefully people
know that, you know, kind of my background with
Ron, if you were in the soundtrack, movie soundtracks
and all that stuff. But the soundtrack to this
movie was fucking amazing. It's like super jazzy.
I mean, it's like, you know, anything coming
out of the U .S. at that time, you know, is comparable
to what... but Rafael Correón was doing, and
he also did the music to another movie that we
talked about, the Caminos de Michoacán, which
I guess I don't really remember. Yeah, he composed
it, and then a lot of his old stuff got played
later in the 80s, like El Violador Inferno, like
Inferno Rapist. Literally the same music in this
movie is played in that one. I see. Again, everything
is a tie -breaker. Yeah, they were just recycling
the music, yeah. So, yeah, let's get into the
first the first story. I mean, it's to the movie.
It's the one thing that I really like about anthologies
is kind of how movies tie into one another. But
I feel like this one doesn't really have like
that thread between them. It's just too. um two
horror stories one is more uh supernatural and
i guess the other would be kind of like a psychological
yeah like a betrayal there well even like the
second story is kind of like an existential like
horror movie you can say uh kind of the crisis
and dilemma that this fool is going through but
um yeah the first movie is like a betrayal for
sure you know don't you know i guess the cautionary
tale of don't don't try to you know two -time
your wife you know because she's probably gonna
find out Yeah, the first story is called Panico.
And I do want to point out that, you know, the
cinematographer on this, absolute legend, Agustin
Martinez -Solares. And if that name sounds semi
-familiar, it should. That's the brother of Gilberto
Martinez -Solares. Exactly. Adolfo, our friend
Adolfo's uncle. Shout out to Adolfo. If you haven't
listened to that interview, go back and listen
to that. But, yeah, absolutely legendary camera
work there. Dude has 161 credits, worked with
the greats. Like you said, Gilberto Martinez
-Solares, his brother, worked with Chano Urrueta.
If you don't know Chano Urrueta, at this point,
turn this off and go watch some Chano movies.
The funny thing is, too, Agustin, he also had
his kids in the movies, too, if you never noticed
that. Well, that's another thing that I have
pointed out here because his son. Agustin Martinez
-Solares Jr., pretty famous. I think anyone who
showed up to the Santo Sunday series that you
guys programmed at the Frida would remember him
as Rufus Rex, the sexy wolf man. And if you haven't
seen that, please go see that because that's
fucking a banger. But he was all, you know, tons
of them with Night of the Bloody Apes and all
kinds of other shit. His work in this movie,
I mean, I don't know. I would assume that this
movie was shot on set and not at an actual location.
I'm sure you guys would agree with that. Oh,
yeah, you can tell right away. But the way he
was able to make this big -ass house feel small
with the way he was working the camera can't
go unsaid because, I mean, it... there's like
a gothic feel to this movie inside the movie
it's such a weird like juxtaposition because
it's like The interior almost feels like an Art
Deco -style mansion. It's super dark in there,
though, so it kind of has this weird gothic feel.
Like I said, the way he's playing with the camera
just really kind of lends into the story with
all the intricacies of the room and the stairwells
and shit like that. Yeah, I felt like the backdrop
for this movie was very Spanish, gothic type
of... architecture and stuff too like it felt
like the house was like a character in its own
especially in this first segment oh absolutely
yeah yeah i mean they almost kind of allude to
it you know with the kind of the background of
the of the house being kind of this you know
haunted house and you know whether or not that's
a true story i mean i would imagine he would
the husband was lying but um yeah the house really
does play an integral role in the in the story
itself i don't understand You don't understand
what? Just why this house turned out to be so
cheap. Hmm? The owner said sentimental reasons.
I bought it from the heirs of the old lady who
built it originally. They didn't want to live
in it. It brought back unpleasant memories. The
owner was the grandmother, but died six years
ago. And since then, no one's wanted to live
here. I don't know. Seems it was a tragedy in
the family. I was told that her husband and the
three children were fatally injured in an accident.
Of course, she continued to live on here for
ten years, all alone in this great big house.
But... the woman didn't think well. Crazy? Sure.
Crazy. But let's get into it. I mean, really,
there's only three players in this first story.
Joaquin Cordero, who, again, absolute legendary
Mexican actor. Well over 200 credits. We've talked
about him. He was part of the first two Santo
movies. Yeah, he's been in a lot. He deserves
more credit than he gets, I feel. There's so
many actors from his age. They get more credit
than they should get. Like Joaquin, it's like
he's been in more stuff than these other legendary
actors. Well, why do you think he's overlooked
then? I think it's just like the favoritism,
you know, that's what it is. Joaquin stars in
these like, you know, cheesy little movies, but
it's like, no, he's done better shit too, you
know? Like he deserves more credit than he gets,
you know? Because he was in more like the pulpy
side. Yeah, I think that's what it is. Yeah.
But I always said, like I said, no, he did better.
He did more than the other guys. i feel he's
a phenomenal actor yeah i've never seen a role
that he's been in that he very charismatic and
very serious and then if he needed to be funny
he was funny so yeah he was a great actor i don't
know why he doesn't get more accolades you know
or anything like that it amazes me well i mean
we'll shine some light yeah some more light on
his career but um He plays a character named
Julio, or in the English version, his name is
Howard. Howard? And then he has Ophelia Montesco,
who plays Alejandra. And, yeah, I mean, there's...
I don't even know how to begin to tell the story,
because essentially the story is about... You
know, this guy, Julio Joaquin, who buys a haunted
house, brings his wife, who he's obviously already
having problems with, to the house. She also
has a heart condition. Yeah, she has medical
conditions. And we later learn that he brought
her there to kind of, I mean, without spoiling
it, scare her to death. You know, Mikey, what
do you think? How would you describe this story
or like how would you put give like your your
little one to two sentence plot? So if I were
to try to sell this story to someone, I would
just be like, you know, for general audiences,
it'd be like this is like a Edgar Allan Poe type
of tale of, you know, kind of like this dark
revenge. But it was just kind of like. This was
my favorite segment of the anthology, too. I
really appreciated this first one. I felt it
was just kind of like, you know, the guy is basically
trying to set up his wife to, you know, be scared
to death, quote unquote, in this new house and
everything so he can, you know, carry on his
life with the mistress and everything. But it's
just like, you know, the evilness behind that
betrayal. kind of gets shifted in a way. And
it's okay to spill the spoiler on this, right?
I mean, yeah. So basically the wife kind of,
I guess, fakes her death and comes back and actually
flips the tables around on her cheating husband.
and you know they all eventually the the people
that did the betrayal the mistress and the husband
end up dying and the ex -wife you know kind of
takes everything packs her stuff and her luggage
and everything and and kind of heads out like
you know you thought you pulled one on me but
the reality is i knew this entire time and and
had it kind of planned out and the the fucking
ghoul costume in this first one is so iconic
and i just i hope people uh Attach more to that
imagery. Because I actually really enjoy the
costume. That they wear in this first one. It's
a big ass mask with long hair. And the hands.
And the chains. The dragging chain sound in the
movie. And like the creaking wood. Adding to
the atmosphere. And sound of this first segment.
I just was like yeah this is fantastic. And it's
funny because like. You can show people the picture
of like the lobby card. And say 100 Cries of
Terror. And show the picture of that ghoul. And
totally have a different interpretation. Of what
this first segment. actually is gonna be yeah
you think it's gonna be some ghoulish character
in there yeah but there might be one because
you know it's funny because alex from prs pointed
something out when i was leaving he was like
did you notice at the end that there's like a
hand holding the candle right when the the woman's
leaving i was like oh yeah i didn't notice that
he's like so i guess there really was a supernatural
thing going on i never know yeah well i wonder
if that was yeah because you remember there's
like there's a scene where you know they when
they finally where they first walk into the house
And he's obviously like, well, you know, there's
still renovations to be made or whatever. And
he's walking, and there's like a dip on the floorboards
there. So I wonder if maybe, you know, this whatever
demon was probably living underneath in the basement.
So there probably is something really going on
there. But it just didn't do anything at the
time. yeah that's crazy i didn't i gotta go back
and watch it yeah it was funny when he pointed
that out to me it's at the end of the yeah you
know when she's leaving and then they show like
a candle or something like that and i was like
oh yeah that's right about that yeah i didn't
think about that part yeah i have to look again
but i know he mentioned it i was like yeah i
didn't notice that before yeah i didn't notice
that i gotta there was like yeah so it's like
okay so they were hinting that there was something
there then for sure you know it wasn't all just
you know a trick or whatever from the husband
so armando do you think that the wife actually
you know knew beforehand like her whole plan
was to get them to this isolated house yeah and
kill them yeah because at the end remember she's
reading the note and it's you know it's narrated
by the husband so it's like she found the note
of the plan and everything so she knew and then
she probably knew the history of the house so
you know that was another thing to as well she
already knew what to expect maybe of what they
might try to do to her i intend to mail this
letter today so that it will serve you as a warning
I'm becoming desperate. I can't live without
you. I swear that if you don't leave your wife,
I'll kill you. um yeah but you know and to to
mikey's point the the character like the monster
of this movie obviously is the standout and obviously
is the marketing point on this and i guess you
know if you go in thinking that this movie is
going to be like a monster movie uh in as a whole
without knowing that it's a actually a two -part
anthology i can see where people would get a
little um I guess I don't know. I don't know.
Upset is the word. We're discouraged. You know,
thinking that, you know, it's going to be one
way and it actually is something else. So just
keep that in mind when you do watch it. But yeah,
I mean, the fucking the monster, like when he's
in the when they're in the living room and he's
talking to his wife. And you can see the monster
standing outside the house through the window.
There's some really super creepy images there.
And again, I think it lends to Agustin's work
and how he was able to frame everything inside
the camera. But this is an anthology. is what
maybe about 35 minutes maybe 40 minutes at the
most i think the total run time on the the the
entire movie was an hour 40 yeah the second one
being the longer one yeah an hour 40 i think
it was like hour 38 yeah 38 minutes yeah shit
okay yeah they're really long seconds yeah okay
so they're like the first one the first one speeds
really good Like you already start to see everything
unravel. The second one, it's like it builds
up little by little. So that's why it takes longer.
Yeah. Which one do you prefer? This one over
the second movie? Honestly, I never thought about
that. I always like both, if anything. I think
the second one was a little bit more like more
of an existential type of philosophical point
of view that. uh you know it was the which we'll
get into more but was she real or not um and
then this one was just like i felt like this
first one was just in your face like oh here's
a betrayal uh story and um you know a little
bit more easier to digest than the second yeah
the second one you really don't know what to
expect when you see it for the first time you're
just like all right what's gonna happen Yeah.
So the second let's get into the second story.
It's, you know, kind of like you said, like,
you know, the story is like I mean, I guess I
didn't realize there were like 45 minutes each.
But because not not a lot happens in that first
one. I mean, it's like we said, you know, get
to the house, you know, scares the wife, just
brings the sunshine in. They end up dying. But
the second movie. To me, the second movie felt
way longer. I actually prefer Panico over the
second story. It's called The Crypt of Terror
in English, the second one. Is that what it's
called? Because in Spanish it's called Miedo
Supremo, which would be like supreme fear, like
the ultimate fear, I guess. And the first one
is called A Dead of Panic. I mean, yeah. that
have funny people that didn't really speak that
you know but anyways um yeah so this second story
like mikey said and you know i alluded to earlier
it's kind of like an existential crisis kind
of questioning um questioning of faith questioning
of um death questioning of life um but uh you
know it was shot by ignacio torres who you know
i don't know why they would have had two different
cinematographers for for the movie I don't know
if maybe they shot them both, you know, at the
same time and just edited them together, which
is kind of what I imagine. But I can't say that
for sure. But this one was shot by Ignacio Torres,
who, you know, prolific in his own way, had almost
130 credits, you know, mainly worked from the
golden age period, you know, in the mid 40s up
until the late 60s when he died. But he also
but he worked with, you know, Gilberto Martinez
Solares. He worked with Rene Cardona, worked
with Carlos Enrique Taboada. So he was a very
well established cinematographer in his own right.
And there's not a lot that he could have done
with the camera in this story. But there is some
shots like and I know Mikey said it off off air.
But, you know, when they're in the crypt and
there's like shots of when. You know, you get
the perspective of being at the bottom of this
crypt looking up at the stairwell. I mean, there's
some really, really good shots in this fucking
in this story, too. But very simple plot. There's
only really two main characters in the story.
The first one is Dr. Javier Medina, who was played
by Jorge Martinez de Hoyos. You know, another
well -established actor, over 100 credits. He
basically acted until the day he died, and he
died in 1997, and that was his last credit. But,
you know, I think a lot of younger fans would
recognize his voice as the narrator in the underseen
classic of Guillermo del Toro, Kronos. Oh, that's
right, yeah. Really? Yeah, that's right, yeah.
Oh, that movie. Yep, that's him, yeah. Exactly,
yeah, yeah. We won't be talking about Kronos,
but he was in Kronos. I never even heard of it.
I don't even know what you're talking about.
I don't know. It's a, it's pretty, it's a pretty
rare movie. So, but it also stars Alicia Caro,
who, you know, her credit, her, you know, title
in the, in the movie is just Mujer del Altaud,
which is just the woman in the crypt or the coffin.
And the funny thing is they were actually, so
they actually met. So Jorge and Alicia, they
met making this movie. And they ended up having
a relationship and got married. Yeah, they were
married until he died. And this was the movie
where they first like worked together and met.
And it's a romance blossom for me. What a way
to start a relationship. I know, right? A buried
alive. Yeah. Not really an isolated incident.
As we know, we have many actors find love on
the set of a movie. This is the most funniest
one. That's like, oh, okay. That was cool to
learn. The basic premise of this, as we've kind
of been saying, is this guy, Dr. Dr. Javier,
he shows up to this cemetery to kind of go visit
his currently dead wife, goes down into this
crypt where they're currently cementing in another
body. The fucking bells ring and it's like, oh,
that's it shifts over. Good God. You know, but
in the meantime, he kind of. he passes out and
he gets locked up into this crypt with a dead
body and i guess my question to you guys is do
you think that she was actually dead in this
movie and she was just kind of an apparition
to him or was she actually buried alive what
do you think that's a hard one actually because
it's so hard to tell like i think i think it
was just all interpretation like i think it was
all just all in his head though if anything But
it's so hard to tell because they do at the end
show him trying to fix everything that was destroyed.
But then it's like, well, we don't even know
if that was real. Yeah, I mean, he could have
been imagining that that was his wife's crypt
as well. That was another thing. Yeah, he was
still in mourning. Yeah, that's exactly what
my interpretation was of this one because this
one runs a little bit slower. It's a little bit
more dialogue and stuff. And I felt it was more
of like, you know, reflection of his past wife
and I actually felt like this segment like was
kind of like touching on communication issues
between male and female in a way because he does
snap at some point also too and it's just like
I felt like maybe that this was like him dragging
possible stuff from the past and kind of like
this is where it's like so weird it could be
psychological and it's just up into interpretation
because there's no real definitive answer to
this it's just like well what do you interpret
from this it could be uh that she's just an actual
person that's alive or just dead and it's just
like And there's really no answers to this movie.
And I felt like this one was more of the harder
one to kind of interpret compared to the first
segment. And the thing is, that does happen,
especially back in the day. You would hear about
people getting buried alive or they think they're
dead, but they're not dead. So that could have
been an incident, too, that happened. Yeah. I
mean, you brought up a good point where he snaps
at her a lot. Like, he's very aggressive with
her because she, you know, when we see her. out
of this coffin she's kind of unaware of what's
actually happening there's actually you know
i'm kind of glad you said that because it reminded
me of a shot where the camera was inside the
mausoleum like in her crypt i guess um looking
out and she was already outside of her coffin
standing out and you know and kind of like the
little um standing area with him but she's kind
of i don't want to say manic but she she's very
um what's the word i'm looking for she's very
sensitive to like noises that are that happening
inside she's nervous about the darkness uh and
i'm sure that could be an interpretation to kind
of remember there's like a little turtle remember
that a little girl that by accident and then
she got super freaked out by the turtle too i
mean everything i mean there was like a plank
of wood that fell she you know she freaked out
yeah um there was there weren't enough candles
to light up the you know the the crypt at night
so she was freaking out about that and he's he
gets pretty aggressive with her to the point
where, you know, you actually thought that he
might actually hit her and harm her. I was right.
Another wick has been extinguished. They're coming
nearer now. They're extinguishing all the torches.
Come back here. You mustn't think about it. They're
in here. I know they are. They're after me. It's
logical. The humidity of the crypt is coming
toward us from that direction. These pots here
are the last ones to be affected by us. That's
why they're the last ones to go out. It's plain,
pure logic. Don't you understand? Don't lie to
me. They're doing it. They're in here. They're
closing in to take me back with them. Don't talk
nonsense. You must reason. Let me go. Let go
of me. They're coming after me. It's as dark
in here as it was inside the casket. You've got
to stop them. They're coming after me. They're
going to put me back inside that horrible coffin.
You've got to get a hold of yourself. So that
actually is a pretty good, you know, a good call
out there about, you know, communication between,
and maybe it was some kind of, you know, history
between this guy and his wife. Maybe that was,
you know, his wife's, you know, spirit coming
back in the form of a, of a zombie. Yeah. And
that's the thing is it's never explained. It's
never explained with anything. You know, you
just, all you know is he's mourning his, his
ex wife, but you don't know if like. there's
regret involved with that morning or there's
like remorse for stuff that could have happened
because we don't know the whole extent or story
and like you know people you know you take your
baggage sometimes into other relationships and
stuff like that or how you communicate with others
and it just felt like there was like i said it's
all just interpretation of like how how do you
i feel like sometimes though when you're like
thinking it from it from this point of view it's
just you know it's just kind of like uh you're
filling in the gaps and projecting a little bit
when it's like there's nothing really there to
work with i don't know yeah well that's kind
of the the problem with this movie is that uh
or this segment i should say is that um there
are a lot of blanks and because it is a two -story
narrative you don't really have a full 90 minutes
to fledge out all of the uh um the internal monologue
that this guy would have been having and kind
of setting things up because he really he shows
up to this fucking cemetery like 20 minutes before
it's closing time it's like okay well if you
really cared you would have showed up earlier
like what the fuck are you doing um i don't know
but that is good though there's a lot of interpretation
so when you watch this movie or if you've seen
it yeah i really i really want to hear you guys
tell me what you guys think you need to tell
us yeah i want to hear other interpretations
and like we keep telling you guys you know hit
us up we want to we're we want to create dialogue
about these movies because if you look this one
up um And I guess this is kind of will lend into
the next question that I wanted to ask both of
you guys is that, you know, this is kind of a
rare underseen movie. You know, when I looked
it up on Letterboxd, there was less than 200
views logged on it. Oh, wow. With that terrible
DVD cover. Yeah, exactly. I'm going to fix that
too. I'm going to fix that. I'm going to fix
that. I'm going to fix that after the show. I
was literally texting Armando this week being
like, you know, I was looking up of like, what
releases has this movie had? And the dollar,
the dollar store one that I saw. Oh yeah. With
the faces. Yeah. So bad. And it's just like,
you can look at it and you're like, oh, this
was like a, a big lots, a 25 cent, like last
chance clearance type of DVD. Yeah. I have that
one. I bought it at the 99 cents. He bought it
at pick and save. Literally like a dollar store.
They used to have that one a lot. Well, that's
kind of a shame because this movie deserves way
more than that. You know, the stories are very
basic, but I think there is a lot that, you know,
as we kind of alluded to, like there's a lot
to interpret in these movies. If you really want
to look deep inside, you know, the narrative,
but you know, my question to both of you and,
you know, I guess we can start with Armando is
where do you think this movie. um stands in the
you know the lexicon of mexican horror movies
because of how underseen it is um i mean when
you think about mexican horror of that era you
just think monsters vampires like pulpy pulpy
stuff you know all that stuff that everybody
obviously really likes and i like it too but
you know there's still more layers of horror
than just stuff like that you know there's your
psychological horror You know, stuff like that.
And this kind of falls into that category. I
think a lot of this is a lot of psychological
stuff in here. But a lot of people aren't really
into it. That's the thing. That's the thing that
I really, like, kind of get annoyed with people.
I'm sorry to say. Like, some people just don't
like psychological stuff as they should. They
always want just the straight -in -your -face
horror, you know, fucking, like, Art the Clown
type of shit. You know, it's like, I don't give
a fuck about seeing a clown killing people. I
want to see why this person's doing it, you know?
Like, if I want to see Art the Clown, I want
to know why is Art the Clown the way he is. But
they don't even fucking tell you. Because they
don't care. They just want to see you see him
doing stuff. Yeah. So for the record, I think
Terrifier fucking sucks. Yeah. So that's what
I'm trying to say. So that's an example. I'm
trying to say it's like people want to just see
stuff like that. They want to see the vampires.
They want to see the Frankensteins. But it's
like, well, what about like the people that are
not crazy or ugly like that? What if they're
just regular people dealing with everyday life
stuff, you know, like mourning deaths or betraying
their spouses and trying to get their monies
and stuff? It's like that stuff. real life it's
scary too you know that's actually really scary
shit too and and like going back and you know
what i was talking about earlier about the advertising
for this movie especially on the on the lobby
cards and stuff is like presenting it as you
know some kind of ghoul or monster and when it's
like actually not that not even it's ironic but
yeah but that's the selling point yeah the monster
as we learn is our people yeah it's like you
know what there is really no monster the real
monsters is just us inside And just wanted to
compliment too, because, you know, when you,
when you gave hope the, the poster to restore
it, that was like one of the cleanest posters
you have given her. And I was like, man, this
looks sick, dude. Nobody has like, you can tell
it was probably never even used when I first
got it. I remember when I opened it, I was like,
Oh, this has never been used. It was beautiful.
It was beautiful. And like, you know, there was
no staining or wear on it. And I was like, wow,
dude, this is like literally like a, what? Almost.
60 year old poster at this point. Yeah. Yeah.
Yeah. When I got it, I was like, Oh wow. It's
even better than I thought. You know, I was expecting
the usual wear and tear. Yeah. Nothing. It was,
it is 60 years. Yeah. Yeah. It's just be a 60th
year. Yeah. That's true. Yeah. Oh wow. Well,
I mean, what are your kind of closing thoughts?
Like, where do you think this stands in kind
of the world of Mexican horror movies? I think
this is like, you know, touching on what Armando
was saying, a lot of like even recently just
getting the indicator Mexico box set of stuff.
And it is like. You know, it's these people are
chasing these creature type of things. And like
I said, with the advertising, it kind of like
sells it to you as this is going to be like a
haunted ghoul type of monster, maybe chasing
around people and everything like that. And the
reality is it is not that type of movie at all.
And it just felt very different from what I've
seen. And I think that's what kind of like drew
me to this movie a little bit more. It was just
like, you know, I'm usually not an anthology
guy. I'm not huge on anthology. Yeah, they're
hit or miss. Yeah, very hit or miss. That's what
I was going to say, too. Even with stuff like
Creepshow, I'm just like, oh, it's cool. But
I'm not like, oh, my God, anthology, anthology,
anthology. I love this, but I thought this was
probably my favorite one that I've seen beyond
Tales from the Crypt, the 70s British one and
stuff. So I think it was awesome because bringing...
an anthology aspect like that and if like i said
before it felt like very like edgar allen poe
type of like cautionary tales of like delving
into like the darkness of the psych and everything
like that when it you know people wanted monster
stuff um i don't know i thought i thought this
is great i hope more people can actually see
a Really good version of this. Yeah, there's
shitty versions on YouTube, and I'm sure wherever
else you guys want to try to find it. But, again,
that version on YouTube is pretty bad. The audio
is terrible. The image isn't even straight. It's,
like, crooked. Washed out. Yeah, super washed
out. Yeah, yeah, fucking, you know, blurry as
shit. I do think that this movie deserves more
credit than it currently has. And I'm sure once
people start to discover it and find it and watch
it, you know, it'll kind of explode in kind of
the world of Mexican horror movies, because as
both of you guys said, and I agree completely,
you know, this. This movie doesn't deal with
with monsters. And if and if you want to quantify
it as as it does, you know, the monsters are
as humans. Right. So that's kind of the the the
the basic of both of these stories is that, you
know, humans are at the forefront and it's really
the scariest part of the movie is, you know,
kind of what these humans are either doing to
each other or doing to themselves. And I know
that's not something that especially for this
era, you know, that Mexican horror is kind of
known for. But, you know, it really, you know,
kind of dives into, you know, social issues of
Mexico at the time, I think. Oh, yeah, absolutely.
100%. Yeah. So, I mean, if you have a chance
to watch it, you know, you should have came to
the couple screenings that these fools had. And
if you didn't, you fucked up. What can I say?
I don't know. We'll figure something out. We'll
probably play it again or something. Like I told
Mike, we'll probably just dupe it on Blu -ray
or something. I don't know. We'll do something.
But you guys better watch it. You better watch
it, and you better support, because if they do
put it out, there's no better way to watch it
than this print. Granted, it is an English dub,
so you get a little bit of that cheapness. And
if you're watching movies on YouTube, I think
you need a... see a doctor if you're watching
movies on youtube like that like with that really
bad quality there's something really wrong with
you like honestly like sometimes like i just
like i know some stuff you're just like you know
this is the only way you're gonna be able to
find it or whatever it's like this shitty rip
and everything but it's like do you want to like
even though this is the only way you're gonna
watch it it's just like not even enjoyable at
that point like it's like i don't know it's even
it feels like like a fourth generation vh vhs
dupe like down to that point where it's so washed
out that it's just like this is shadows this
is all just pixels at this point it's not even
it's not even videos it's just pixels well this
is a huge digression here but what kind of responsibility
do you think these you know quote unquote boutique
labels have to kind of restore these type of
movies i mean like you know granted this this
movie in particular is pretty criminally underseen
but you know Why do you think companies, let's
say, I don't want to call companies out by name,
but why wouldn't some of these companies want
to jump on this movie? Is it rights issues? Is
it because it's a public domain movie? Is there
not enough fan demand for it? What do you guys
think? It's just like I told you before. People
just want in -your -face shit. They want to see
the monster, the killer. They don't care about
the stories or anything serious. And I will admit
to this because I was one of these people where
if something was in black and white. I would
kind of push it to the side. Yeah. Yeah, that's
another thing. There's a little more, less interest
of people wanting to see black and white films.
Like, even with some of the tours and stuff,
you know, touring around Prince and everything
like that, you know, I'd be so excited with the
black and white stuff. Like, one of my favorite
things that I did was the Violent Years and Teenage
Crime Wave. It was like a criminal black and
white double. Yeah, the Violent Years was fucking
dope. Yeah, and it's like... I was like so excited.
I'm like, oh, this is like my favorite double
I've done. And, you know, you play something
like this and like 12 people come out and you're
just kind of like, wait, but this is the thing
I was most excited about. And it's just like
it's hard to get people excited for black and
white stuff or to even give it a chance. And
I was ignorant like that at one point. And I
think. Um, you know, watching a bunch of more
like noir and stuff with hope. Um, it's really
like opened me up to being like, Hey, this shit's
actually like really good. And like, I think
in the last few years I've been more open to
black and white stuff these days. Oh yeah. You
got to give the old stuff a chance. Yeah. Color,
no color. You have to give it a chance. What
about sound? No sound? You into silent movies?
I haven't hit that yet. He just started watching
Black and White. I'm easing it. I just barely
started. We've been revisiting a lot of the older
type of 30s, 40s cinema with these grand dancing
schemes and everything. I was never open to this
stuff. I'm watching it and I'm like, I see why
people still talk about it today. This stuff
is actually pretty good. I think there's a lane
for everybody. Um, I, myself am also not really,
especially when it comes to like the thirties,
forties, uh, fifties is kind of pushing it for
me. Not because I don't particularly like it.
It's just that I just don't really, I don't know.
I don't really go back that far, but you know,
there's, there's movies for everybody. And I'm
glad that there's at least someone talking about,
you know, whatever style of, of a movie that
people want to watch. Um, because if not, then,
you know, those movies will die you know the
the actors will die the legacy of those uh you
know artists will die yeah and then if you're
a fan of ramona bones movies you know like vampiro
and all that you have to see hunter cries of
terror yeah if you really respect them as a writer
and then him being him only directing this movie
it's like you have to see this you have to see
what else he had to offer before he died because
this is literally like his last movie ever yeah
and you know like you know exactly to armando's
point i mean a lot of people praise his work
that he's done as a writer um but they only want
to praise you know the stuff that everybody already
knows yeah you got to give his other stuff a
chance even his film mores and dramas but again
i think that also lands into and i don't i don't
want to you know point blame at any at any company
but i do think that these companies have a responsibility
to um to expand their reach with certain movies.
I mean, it's easy for me to say as a fan and
not as part of being in the industry, in the
business, to have to pay money to release these
movies that maybe people don't want to watch.
Maybe they don't even know they want to watch
these movies. You know, you got to give them
a chance, you know, because eventually these
movies are going to fucking disappear. You know,
you know, look how hard it was for for this will
make you to find a 16 millimeter print just to
keep it, you know, in circulation and surviving.
You know, if you know who knows what would happen
if some other bozo would have came and bought
the lot. I mean, what the fuck is this? And just
tossed it, you know, and you would have been
stuck with either no prints or a shitty print.
Because I don't know. I mean, I'm at this point
I'm just ranting, but. you know seek these movies
out they they they are enjoyable this movie is
uh is really good i don't want to speak for you
know these two guys here but you know i can almost
guarantee that the majority of people will enjoy
this movie um either both stories or one or the
other yeah and like i said everybody that's told
me that i've seen it or that i've came to the
straining they all loved it they all had really
good thing to say about it they never once said
it was just okay it was always just like it was
really good Or it was okay. Like, nope, nothing
like that. It was always, it was good. And you
missed out if you didn't come to any of the screenings.
They fucked up. People are weird. Y 'all want
to go see Terrifier Part 5 or whatever. Meanwhile,
that fool is in a new lawsuit right now. Whatever,
I don't want to talk about that. You know what
I mean. I'm just saying people need to give other
things a chance. If they really want to see horror,
you have to see all aspects of horror, not just
what you're familiar with or what you think is
the only good stuff. But it's like, what chance
do you get really? Even here in LA, to see a
Mexican movie on actual film. like even here
in la or outside or anywhere it's just like i
don't know those type of things i'm like yeah
this doesn't come up and that's the type of stuff
that i'm attracted to when it comes to going
to screenings it's like oh you're not going to
see this again for like maybe another five to
ten years if it even comes up and it's just like
you go and and relish in those moments of stuff
and i i felt like these screenings were kind
of that and um yeah hopefully we find more prints
and hopefully we can place hopefully some more
stuff in 2026 on actual film. Yeah, that's the
goal. Hopefully I'm, I'm hoping you guys find
more prints because you know, the crowd needs
it, man. You know, especially now there's, there's
kind of been a, like a resurgence or not. I don't
know if resurgence is the word, but kind of a,
an influx of, you know, Hispanic, Latin, whatever
you, you know, label yourself. viewers that are
going to movies now you know like they they actually
want to seek it out granted you know i don't
know how often they're going to see you know
mexican movies or south american movies or latin
american movies but you know i think the more
you know uh these type of movies screen i think
the the bigger the audience is going to get and
i think that will you know hopefully we'll start
to create a demand for labels to release these
kind of movies That's what I always try to tell
people. If you see stuff like this playing, you
have to support it because then we're not going
to get anything later. I miss Santo Sundays,
man. That's like a perfect example. It's like,
who was playing Santo movies before? Not really.
I know Viviana had screenings here and there,
but then it's like a whole marathon. We did four
fucking months. Yeah, and I'm just saying, and
now after that, I'm not going to... call out
anybody but it's like then all of a sudden people
wanted to show lucha stuff yeah but it's cool
though but either way it's like hey at least
it encouraged people to at least put it out more
you know so that's what I'm saying like if you
see stuff like that yeah like create a demand
for it yeah if it's not gonna be at least do
it yourself if you can you know and the screenings
went well at Frida like they kept period like
every screening kept going up more and more oh
yeah and I was just I was actually very surprised
by it and it's just the response to that again
and if we ever get the chance again to do that
maybe in 2026 that would be fantastic oh yeah
for sure that's what I'm trying to say 2026,
man. The year of Trash Make See It On 16 film
revival. book it i'm calling it now 2026 big
year big year yeah um okay well let's wind it
down here um you know any any upcoming shows
that you want to promote this is going to be
live on starting this this monday so anything
past this monday shout it out this this uh so
what's happening this past monday i mean this
monday coming up uh for the the rest of november
is uh sleep eat watch movies uh taking the next
four weeks off and um i'm staying home uh i don't
have to go back to projecting until december
5th um december finishing off the year with uh
it's a wonderful life matinees and then also
touring a um 16 millimeter print of black christmas
from bob clark and then this one tripped out
fucking movie from san rio called uh nutcracker
fantasy yeah i think it's fantasy nutcracker
i keep nutcracker fantasy it sounds like it could
be a porno title name or something yeah i can't
mix them up yeah yeah that one i'm gonna see
for sure yeah so san rio put this out i'm gonna
be um doing i think two shows with uh alex from
prs And we're going to be touring that print
around Art Theater Long Beach and PRS. That's
pretty much it. And then just enjoying the holidays
and having downtime, man. Because it's been crazy,
crazy. We were counting everything. And within
the last three, four years of all this, I've
done close to over 350 shows now. And I'm just
like... It's catching up with me. I'm getting
a lot more gray hairs now. I didn't want to say
it, but I'm like, damn. At least you still have
hair, man. I lost mine. And it didn't take 300
screenings for me. All right. Well, you know,
you heard it here. If you see it on 16 coming
to a theater near you, go fucking support that
shit, man. Don't be a lame. Don't be a fool made
of plastic, man. Go show up, support, you know.
As far as for the podcast, December is going
to be. I mean, personally, I think it's going
to be a great episode. I even put the poster
up. Yeah, I saw that. I've been preparing. I
want to say it now because I know people are
going to think it, but this episode has been
in the works for about a year now that we've
been talking about it. Yeah, that's true. So
it's not because of newfound popularity that's
going on right now. Yeah, it actually intertwined
with that. I know. completely shocked i didn't
even know that that special was happening yeah
i forgot that was coming out yeah um we have
that in december january we haven't booked it
yet but we you know hopefully we'll have a guest
in uh we're just working on trying to get a scheduling
for that um february of course we're gonna have
a february yeah i already planned february yeah
armando uh programmed a february show where we're
gonna talk about uh lovers cheaters side pieces
We'll try to get somebody for that one. You know,
someone that we already had before. Oh, yeah.
We'll try to get them back. And then, of course,
March, we're going to have our annual episode
of Las Bellas de Trash Max. We're going to highlight
the women of Trash Max. Yeah, so the podcast
isn't going nowhere. We're going to keep going,
and we're going to always bring something different,
you know, something new every month. It's not
going to be what you expect. It's always going
to be something new and unexpected. So tune in
because you don't want to be late to the train,
man, because, you know, by the time we hit mega
stardom, you know. I don't know about mega stardom.
We rulers of the podcast world. Oh, yeah. We
know our shit, man. No, I'm just joking. We still
have to figure stuff out. We're always learning,
you know, as we go. There's stuff that I'm always
learning as we go as well. I mean, that's the
whole point. That's the whole point, you know.
I'm never going to tell people I'm an expert.
It's like, no, I just. You know, I read about
it. You know, like, I look the shit up, you know.
People like to think, oh, you think you know
it. I was like, no, actually, I don't. I'm glad
you guys are actually, like, doing this because
this is something that was, like, back and forth
for a while of just, like, come on, dude, like,
you know, people would love to hear you talk
about stuff. And it's just, like, now that you
guys are, what, almost over a year into it already,
and it's just, like. I was happy to see it. Funny
enough, we had a sitting in the back of an Uber.
Me and Armando had a conversation at the Texas
when we went to go screen this. uh me trying
to convince him come on man oh yeah let's do
this yeah so it goes it goes back far man it
took me a while to convince armando to do it
as you guys already know the story but yeah um
you know stay in tune you know as armando said
we're still learning as well you know no one
here is an expert um except armando i guess is
you know can be quantified well i don't have
a life you guys know that already i'm literally
always commenting i mean i mean i mean i got
a girl now so the girl's here but even then when
she's here i'm here like yeah you're still like
i'm still trying to find stuff you know yeah
you know always always on the search you know
always trying to educate ourselves um you know
of course it all it all started with the trash
max website so don't forget that that website
still exists yeah i got i got a bunch of i got
a bunch of coming a lot of stuff coming in so
keep an eye out you're strong at this point So
check that out. I got new stuff coming. And then
what else we got? We got other stuff. There's
going to be other stuff. There's merch on there.
You know, fucking support. You know, buy a damn
t -shirt. And most of all, you know, comment,
subscribe, podcast. Follow along. We're on all
platforms, you know, all the preferred ones.
If I can write us on Letterboxd, write us on
Instagram, email us. You've been getting Letterboxd
famous these days. Oh, man. Bro, that shit's
whack. Oh, no. It's not October anymore. I'm
still on there. You're still a featured? Yeah.
They haven't changed that shit yet. I'm still
getting followers. Damn. Hey, you know, shout
out to that. Shout out to Letterboxd, I guess.
Well, I don't know now. Comment on his Letterboxd,
your Letterboxd 4 on Armando's comments. Let
him know. Yeah. Maybe you'll get chosen at some
point. Maybe they did change it. I haven't had
a follower since yesterday. Look at all the shit
I had. That's when you know it's bad when all
the people have no images. It's just like the
stock profile picture. Or this guy bought some
bots. He's just like, I don't know what these
people are talking about. Paid for productivity.
I'm not like other podcasts, quote unquote. It's
always free, guys. That was the main thing that
Armando and I talked about. This show will always
be free. It'll always be available. I don't think
you have to subscribe. pay for anything no never
um you know if you ever want to pay us you know
just send us on venmos of money anyways but Venmo,
I don't know, buy us snacks. No, the best way
to support us is to listen, tell everybody, tell
your tias, your tios, your sancho, your ex, your
wife, anyone you hate, anyone you love. Just
spread the word, you know, watch the movies,
engage with us, you know, teach us something,
you know, come to the shows, you know, support
Mikey and see it on 16. That's the best way to
support is to just show up. And talk, really.
Yeah, and if you see us, don't be afraid. Come
up to us. I don't know how many times I've had
people say, oh, I saw you. I mean, you saw me,
but you didn't say hi? It happens all the time,
man. It happens all the time. You're like, you
saw me? What? Do you think we're unapproachable
sometimes? No, I'm like right there. Like, even
at the merch table at the show, do you think
we give off of, like... We're literally there
for whatever. If people want to buy stuff or
not, I mean, that's the whole point, right? Yeah.
I don't know. People are just shy. I think that's
just really what it is. I never realized how
shy people are. It's easier to talk to someone
online than it is for a lot of people. Exactly.
I kind of get that way sometimes too, but it
is what it is. Yeah, if you see Mike, say hi
to him. He's always there. If you see me somewhere,
say hi. Don't be weird. Don't make it weird.
And don't message me either. That makes it even
more weird. I remember. I'll tell this story
off air. This is the end. Here's the trailer
for the next month episode. We will have a guest.
You've heard him before. So be prepared for that.
Yeah, that's all there is to say. You think this
one's going to get 1 ,000 downloads too? Oh,
yeah. So that's one thing. Our last episode on
Los Bukis that was back in December, it crossed
1 ,000 downloads. So anyone who's listened to
it, downloaded it, or told anyone about that
show specifically, thank you. That was a joke
that I came to Armando with who Armando said,
fuck yeah, let's do it. And who knew that that
was going to be the best thing Most downloaded
Trashmex podcast episode. This one will probably
beat it then for sure. Another music one. It's
another music one. Yeah. And I'm sure with that
hint, you'll guess who it is. But yeah, we'll
see you guys next month or we'll talk to you
guys next month. Tune in, man. Follow along.
Tell everybody. Thank you. Thanks. Have a good
one. Peace. Anything you can offer, tell me.
Don't worry. Thank you very much, doctor. Damn
it, Dan. How do you start doing these things?
Even Calentura gave it to you. Leave that to
someone who is used to walking barefoot. But
you... Damn it, Dan. You don't even fuck with
her. Forgive me, Meche. It's just that I got
scared. La desesperación de que nunca la voy
a hacer. De que mis canciones no valen la pena.
Que a nadie le gusta como canto. Que todos me
dan por mi lado nada más por pasar el rato. Estás
loco, pinche Adán. Tú la vas a hacer. Nomás que
vayas a México y te oigan tu material, vas a
acabar con todos. Estás muy chavalillo todavía.
Pero óyeme bien, tus rolas valen mucho. Y como
vuelvas a hacer otra onda como la de anoche,
te voy a madrear. Yo creí que casi te ibas a
morir. Y luego yo, de tres veces, ya, horrible.
Pinchada, no me vuelvas a dar otro susto como
esto, carajo.