ТРЕВОЖНАЯ МУЗЫКА

ТРЕВОЖНАЯ МУЗЫКА I'm going to die. I'm going to die. I'm going to die. Hello everybody and welcome back to another Patreon episode of your very favorite podcast. Well, 80s all over. The second favorite podcast, third favorite podcast. Start over. Thank you so much to everyone listening to this episode because that means you have donated some funds to our podcast and we love you for that and we love you for listening and speaking of love let me introduce my co-host Mr. Drew McWeenie. Thank you sir thank you and indeed we do love our patron. I gotta say one of my favorite things about the bonus episodes is that when we're done with everything we're gonna have the finished experiment of all of the movies of the 80s reviewed but then we're going to have this weird sign collection of stuff that I think is just as interesting a body of conversations so far. And today's guest is going to add to that in a way that I'm very excited about. I'm very glad you invited him. I've known this gentleman for a long time, and I think we're going to have a great show today. And let us now introduce our guest. He is a filmmaker. I know him mainly as his work for his work as a DVD producer, but he's also a very good director. Welcome Charles D. Lausereca. Well pronounced. Thank you. I hate getting people's names wrong. Charles, I just have to say for a long time, I was writing for DVD talk and a few other DVD sites. And you don't really pick up that many DVD producers names names. But yours and David Pryor were two names that always stuck in my head. If that name is anywhere in a DVD review, that's a good DVD because it's loaded with special features and extras. What are some of your biggest DVDs that you produced? Or your favorite? Wow. Those are kind of two different questions. But I think the Blade Runner 5 Disc box set is probably my favorite and probably the one that maybe people were the most excited about just because of how much it delivered that had been previously never seen before. So that was a great one. And restoring the final cut to Bradley Scott's vision and then doing the three and a half hour documentary and then 47 minutes of deleted scenes. It was just like it was endless, Blade Runner love that we were able to like put no box. So that was great. And then I think the alien anthology previously alien quadrilogy box set, the Blu-ray set is vastly superior to the DVD set. But I think that was great just because we offered

two different versions of each movie and then commentaries for each movie and then just again, hours and hours and hours of really candid behind the scenes documentaries. There's a lot of other ones that I'm proud of and I like, but I mean, we'll be here all day. Right. But I think those are the two that are probably the ones that will be on my gravestone. and drew one of you let our listeners know how you and Charles know each other

i was lucky enough to, during my time at Dave's video, get to know a lot of people who work in the the production end of home video. And so, a mutual friend of ours, Paul Prishman, started working with Charlie, and that was sort of the personal introduction. My favorite Charlie memory, there was a night where he was kind enough to host us at his studio where he has his screening facility set up for us to show some friends cigarette burns when we finish the very first cut of it. And it was a lovely, lovely evening where we got to share something with our buddies. So thank you again for that, Charlie. I also, I am on a deleted, lost, long, forgotten audio commentary that Charlie recorded for a movie that the studio then shot down. And it was a huge bummer because it was huge fun to do the fly too. It went really well and was a lot of fun. And I think we told too many stories. It would have been a great inclusion and I'm still to this day I'm not sure why it wasn't because it's you know at minimum it's just additional bunch content and it's additional stuff to listen to you know. So let's start with 1982's hunger. It's funny because when I was at USC Film School and I started interning to try to, you know,

land a job somewhere after I graduated, the first person that I really connected with long-term

was Tony Scott. And I was Tony's personal script reader for a while before Ridley stole me from Tony, but I miss him dearly and I think that's a really amazing first film. So when it came up, I was kind of surprised because it's such a cult movie that's kind of controlled by a major studio

with Warner Brothers. So you hope they would do something and we did, we did a little bit, but you can't expect them to really, you know, open up the pocketbook and go crazy and do like an epic documentary and everything else I would have normally tried to do. But we had like some very interesting conversations about what we could do Because there was nothing like behind the scenes footage or anything we could do to really

do a proper doc.

There was hardly any even still photography for us to use at the time. So we were going to do sort of a real world thing on sort of like the Goth underground and kind of like do that approach, but that didn't really track well with the studio. So we really just did a commentary with Tony and then Susan Sarandon. that was two different sessions. I did recorded Tony in LA and Susan in New York. As far as commentaries go, that's one of my favorites in terms of the recording and the actual experience of it because commentaries can be boring as hell. We just open up the racing form and just start reading the paper while people talk. In this case, it was more conversational because it's an older film. So you had to kind of like bring back memories and, you know, Tony was always great.

He was always a lot of fun. If you look at even like photos of Tony, you just see this twinkling as I. He's always got like this thing going on where he's definitely thinking on multiple levels at the same time and he's very playful, I think, in his creativity or he was. And that's kind of how I was in person.

You know, I mean, every time I had to deal with them, it was always a bit of like, what

curveball is Tony going to throw me today?

But conversational was in person. You know, I mean, every time I had to deal with them, it was always a bit of like,

what curveball is Tony gonna throw me today?

But conversational and in person, I found him to be just kind of like the crazy uncle, I wish was always there. If you always kind of felt like you wanted to please him. As we've been working on the podcast, one of my research things that I've been doing doing is reading a lot of press from the time,

a lot of contemporary magazines, fanzines,

things like that, like with Blade Runner, you had just research things that I've been doing is reading a lot of press from the time, a lot of contemporary

magazines, fanzines, things like that. Like with Blade Runner, you had just mountains of material to go through on some films you have nothing to go through. So where do you start your research, man? Well, it depends on the movie because I'm going to be like Blade Runner, which is my favorite film of all time. It's like I've already got a pretty deep understanding of production history. It's still your favorite film?

Well, my relationship with Blade Runner has grown complicated in recent years, but I and other films that are less complicated are coming to the fore. But I feel like it's part of my DNA at this point, just because I have been so immersed in that world for so long. In that case, I didn't have to do a ton of background research because I was already pretty familiar with all the major stories and the characters and kind of what went down and having the luxury of working on that for multiple years. I mean, we kind of started the first conversations in the year 2000 and it didn't come out until 2007 and we were we were up and down in terms of activity on it. It was a long time to have that thing just sort of percolating.

There was a period of time there, about a year and a half

or two years where it was almost like every day we'd open a new box of film elements or tapes or art or photos or whatever had been in storage or archived somewhere. And it was like Christmas every day because there were things I was discovering that I didn't even know about. I mean, even if you had read Paul Samman's book,

Future Nora, The Making of Blade Runner,

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