From KCRW in Santa Monica and KCRW.com, I'm Kim Masters, and this is the business.

You listen, if you listen and learn, then you're going to be able to do anything you want,

this town.

This week, everybody thinks his business, business, really, really, all white life, he doesn't clean, please. What's with him? Oh, I'm afraid he's gone Hollywood.

This week on the business, Troll 2 was an infamous turkey of a film that haunted its child star until it became a cult phenomenon.

Now he's made a documentary about the weird demise and rise of a really bad movie.

Plus, George Romero, the granddaddy of the zombie film.

But first, it's the Hollywood news banter.

Stick around.

It's the business from KCRW.

You can imagine Hollywood everything is really driven by making money.

What's with him?

I'm afraid he's gone to Hollywood.

I'm joined in the studio by my fellow banterer, John Horn of the Los Angeles Times.

John, Cannes is underway.

It is underway and I'm not there.

And you're not there. How can it happen?

So Cannes seems to be sort of freighted with some sort of, all sorts of meaning this year? I think it's changed dramatically even over the last couple of years.

It still is a place where studios take big movies to get free media exposure.

You have to remember, there's 3,000 journalists from more than 80 countries there, so it's like a massive press junket. So you take a movie like Robin Hood, you get Russell Crow walking up the red carpet with Kate Blanchett, you get a lot of free publicity. But the real heart of the festival has always been the market. Movies that go there looking for distribution. They might be crummy B movies. Or great art house movies. And the

bottom has completely fallen out of both of those businesses. So the people who are going there,

buying movies are probably not going to spend as much as they used to. The people who are there

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