Hello, my name's Justin the Clue, and I'm here today with Will Sloan.

And you're listening to The Important Cinema Club. And this is a series first, a part two episode.

Jess Franco, part two, to be specific. A long time ago, maybe even over a year ago, we promised a second part.

Almost like two, three years ago it feels like.

First of all, I'd like to apologize to any listeners.

I don't know if this is picking up, but I'm recording from a different and slightly more

echoey location than I normally do.

Just imagine that if I am coming across as more echo-y or a little more tinny sounding,

just imagine that I'm dubbing a character in a Jess Franco movie.

I was going to say you're at the Jess Franco mansions, the castles that appear in all of his

sex films, and where all the archival knowledge of the Franco estate resides.

So this is the first director that we've ever done a part two of. It may be the last

director. Why do we do a part two about Jess Franco? Because Jess Franco has made more movies that

have been released theatrically and aren't all pornography than probably anyone on earth, I would say.

And all of these films are an extension of his self.

They are not just for a higher work. You know, Tarantino often talks about how he wants to

maintain a rigorous quality control of his work, because he doesn't want some future kid to reach

into a pile of his movies at random and pick out the bad one. He doesn't want

them to pick out Skidoo or Land of the Faro's. And, you know, I often think that Tarantino's

full of shit when he starts talking like this. Oh, I agree. But it's true that it took me a long

time to appreciate Jess Franco for precisely this reason, because vast career, many different pockets of interest. I think the

first one of his I ever saw may have been Count Dracula. Ooh, that's a bad one to start with.

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