****THIS TRANSCRIPT WAS A.I GENERATED AND MAY NOT BE 100 % ACCURATE****

You are listening to Death by DVD. And this is Harry Scott Sullivan. Your host. And on this episode, I have something a little bit different from what we usually talk about on this program. Don't worry. It is, in fact, a movie. But this time I'll be talking about a documentary, which I don't think. And I always get in trouble when I do something like that.

We have ever in the lengthy, some may say too lengthy History of Death by DVD, a documentary before we have referenced documentaries. Sure. I know on a few episodes we may have indulge edged about documentaries, but we've never specifically covered a documentary. And I'm very excited not only because it's the first time we've done this on Death, but a DVD to talk about this documentary.

But I'm very excited in general to share with you this documentary. And this seems like a good spot to just go ahead and tell you the name of the documentary so I don't have to just keep saying the word documentary over and over and over again on this. Fresh from the Grave episode of Death by DVD, we will be discussing Create or Die 2024, directed by Sara massey.

I say we as if there is some small mouse in my pocket, but it is just I. Harry Scott Sullivan, your faithful host. The we, I guess, could be other voices screaming at me in my head right now. But you won't be hearing from any of them just I don't know why we have never talked about a documentary on the show 15 years and running and we somehow, some way have never managed to talk about one.

And maybe if I don't get too caught up in things, I'll talk more about that. Maybe not so much why we haven't done documentaries on the show, but just some thoughts. But shit, this whole entire thing is just some thoughts. So who knows? Maybe. Maybe not. Don't quote me on it. I won't give too much away at the beginning, but this was an incredible breath of fresh air and very, very pleasing to watch.

And now I'll just tell you how I found out about the documentary. Someone used the suggestion feature it w w death by DVD dot com and they didn't tell me to fuck off. They didn't tell me to die. They didn't tell me to fuck off and die or any other variation of that. For once, it's very rare, but it does happen.

People use that feature to suggest movies that they would like to hear discussed on this program. It's always so wonderful when the reason something was created happens instead of all the lovely variants of it that I receive in my email. And that pretty much is the story. Exciting, isn't it? You know what this is called in the biz is filler padding.

We're not even 5 minutes in, but let me indulge. So I got an email that I should check out Creator Die, and I tried to be as open to everything as possibly as I can be. If you suggest a movie, I'm going to watch it. The act of you taking time out of your day to suggest something is enough for me to watch.

It doesn't always mean that it's going to appear on the show. But, you know, some of our best episodes were things that were suggested. I'm always very excited when I see I've got a new email and it isn't Go kill yourself, fuck yourself, fuck off, your show sucks. I'm always very excited to get an email. I'm always very excited to field those emails and to see what they say and to look at the films that I'm directed at through said email and on title alone, creator Di really reached out to me.

It's a great title. Doesn't matter what the production is, it's still a great title and it turned out to be a documentary and still a great title. And I got about 20 minutes into this documentary before I realized, Yeah, this has got to go on the show, This has got to go on Death by DVD some way. Somehow I'll find out a way to talk about this movie.

And it's not that discussing documentaries is hard, but once we uncover more ground here and I tell you about the documentary, it did pose a bit of a challenge because this is a documentary, an independent documentary about people making an independent movie. And the independent movie that they're making is a movie that takes place in a movie that also takes place in a movie, because that movie begins with somebody watching the movie that the movie we're watching is about.

And there's a movie within that. And man, that sounds convoluted and very, very difficult even to explain. But it's not it's really not just, for example, one of the most famous books ever written that later on became one of the most famous films ever made. Joseph Conrad's Heart of Darkness. The book begins with a narration who begins narrating about a narrator who is narrating the story that you'll read.

But it's not the narrator from the beginning of the story, who also shows up at the end to narrate the narrator's narration of the story. Sounds really difficult, sounds very convoluted, but it's not. It became one of the most famous films ever made by Francis Ford Coppola. Apocalypse Now. It's a classic, one of the greatest English language stories ever written, written by a man who had only learned the English language about a year, maybe two years, before writing the story.

Joseph Conrad Sometimes amazing things have incredibly complicated ideas behind them, but the actuality of these things is quite simple. And the movie that this documentary is about turns out being a quite simple story. And we'll talk more about that later on. Let's focus on the documentary. But of course, how can I explain the documentary without explaining that? And to be so vague about it?

But it's just the first few minutes of the episode. I have to be vague or else you'll learn everything and not want to listen to the rest of it. So I got about 20 minutes into this thing before it had just hit me. It hit me just right in the face. It was like a ton of bricks. A shocking moment.

I really want to share this with our audience. I really want all of you out there that listen to me talk about obscenely cheap and bizarre independent films from years ago to now and have supported independent films that I've been in. I felt, you know, this this is something that's got some stature. This has some power. So let's just dive headfirst into Creator Day and let me tell you about it.

I'll share my thoughts on everything and more. 2002 for the IMDB synopsis is a little misleading. We've got a team of ambitious filmmakers travel to the backwoods of Georgia to shoot their passion project. But when disaster strikes, they begin to question just how far they are willing to go to chase their dreams. Sure, but that's more about the movie.

The documentary is about this documentary is I already said at one point it's a breath of fresh air for me personally, but this was a very crisp, clean, exciting production that is all about the woe and misery and pain and excitement and love and passion and force and drive that it takes to make an indie production. And you go through this entire thing and at times it's almost a little alarming because you hear people being completely and totally honest and you don't often get that even in a documentary setting.

You've got independent filmmakers, artists that are showing you and describing to you pain and suffering, that they've gone through embarrassment that they've gone through, all for the sake of independent art. The documentary Create or Die exposes us to the world of a man named David Acts. David acts as an independent filmmaker. He's a former workhorse bond, an editor, graphic novelist.

He was a reporter. But his greatest passion, his biggest love of all things, is creating and making films. Mr. Acts decided that he was going to essentially put himself through film school by making a movie every single year until he got good at it. And in the first few minutes of this documentary, you're exposed to him telling you that.

And that itself pushed me. Okay, that's not a crazy idea, but it is an absolutely insane, crazy idea. It's not cheap. It's not easy to make an independent production. And making a movie is not a promise that anyone is going to see it that is ever going to be seen at all. You go through months and months and months and a lot of money to create something like this.

And hearing somebody say, Well, I'm going to just keep making a movie one movie a year until I'm finally good at it, it is almost cockeyed. You kind of just want to stare at somebody like that. But at the same time, it's one of the most beautiful, truly beautiful things I've ever heard somebody say. That commitment, that audacity.

I mean, it's really audacious knowing I'm going to make some bad movies, I'm going to make some really, really bad movies, but I don't care because I'm sharpening my craft and I'm just trying to write my love letter to cinema. I want everyone to know this yet alone, leaving something behind long after you're gone. But it seems to be with David AX.

Something more than that a true commitment, adoration, and undying, compassionate love of film and filmmaking. And immediately I'm watching this documentary and I just. I fall in love with this guy. I fell in love with his mission statement. What he believes in is so much of what I'd choose to talk about on this show. And I say it all the time.

I know you have to be familiar with it as an audience member. My favorite form of art is film. I really think I love it more than anything else. One of the reasons this show itself has lasted so long is just a single commitment. I might not be making movies, but I sure as shit want people to see more of them.

And maybe if I can take an hour out of my time and tell you about some of those films that might give you an interest in them, even if they're mean or nasty, banned, scary movies, things that you've heard about on the deepest, darkest corners of the Internet and you're afraid of. I love the art. I love the art form of filmmaking and a single person creating a tribe and a group to tell their story.

And that really is the nature of what this documentary is. We begin with David acts and then we start seeing his crew, his family that he has created to create these films with him. I talk about George Romero a lot on the show. I bring up all the time that George shot with his family and the film night Rider by George Romero.

That is a statement about that family and how times are changing studio interference and becoming a studio director. Many people forget that George George Romero was an indie guy. That's what started things. That's what made his films so glorious. Low production values. You have to take the money that you have and make it work. If you have $10,000 and you got to use that $10,000 and it's pointed out and creator die, you get $10,000.

Don't make it look like a million. Don't try and lie and cheat and fake things to the audience. Use that 10,000 and put everything you've got into it. And as I'm watching this documentary that these people, these these titans that I reference are what comes to mind immediately. This guy David acts. He reminds me of George Romero. His ethos reminds me of George Romero, his work, seven movies.

I believe he's put out seven films in the last seven years. I don't know if all of them are available, but he has laid good on his promise. Every year he's putting out a film and getting better and better and better with each production, all because of this undying love of film. So this documentary takes us into the world of David acts.

We establish who he is, we establish what he stands for. And all in all, it's a pretty riveting piece. It's very tight, it's edited beautifully. Everything is presented to you without any agenda. There is no ulterior motives. You've got this story. And as I watched it, I became very enchanted and very interested alone in the work of David AX and his productions and what he does.

And after I finished it, I sit there sort of reeling and thinking about everything that I just witnessed. And it takes me back to the director of this film, somebody named Sarah Massey. And this is what made me want to, no matter how disconnected things may be discussed, this on Death by DVD, is these afterthoughts sitting there. Once this documentary had ended thinking about Sarah, what's the point of this production?

Why was this documentary made now as an audience member and as opposed critic? I can only assume that the point of the documentary would be to educate you and turn you on to the work of David AX, which in that facet is incredibly perfect because one 100% this entire thing, 20 minutes into it, all I wanted to do was watch a production by David AX, not just the movie the documentary is about, but I wanted to experience his films in general.

I wanted to see everything that I could from this person because what they say, how they act, how they seem to treat film in their daily life. Man, I connected to it so much. I heard things that I have said on the show. I've said to myself, I heard things that I sit up late at night laying in bed thinking about it really, really attacked me in a great way.

And I just started thinking about Sarah Massey. So what's the point of a production like this? And what I have taken in my thoughts and wrapped around and figured everything out. It's that perhaps Sarah Massey themselves are making a production in the same manner of David AX, something that truly encompasses an undying love of cinema. And it's very rare that you have a documentary filmmaker making something incredibly passionate that is also personal.

You've got Werner Herzog. Some of the best documentaries ever made are by Werner Herzog, but Grizzly Man wasn't personal. Grizzly Man was something of interest in which he made a documentary, and that tends to be how things work. It's a job. But after reeling and feeling personally attacked again in a positive way by this documentary, I just couldn't help but think more and more about what type of artist Sarah Massey is the person that is responsible for this documentary.

They shot, they edited, they directed this entire thing. I don't know conceptually where it came from or how it came to be, but what I've witnessed and what I have seen talking about creator die, the the art, the piece, the product that this documentary is, what I can see is just the same thing as David AX, a True Blue, undying, compassionate, unconditional love of filmmaking.

There's a massive misconception about making movies at all that you get really anything out of it. If you're attached to a studio and someone has given you $350 million to make a movie, yeah, you're probably going to get something out of it. But most independent productions sit anywhere from $5000 to $60000. I've worked on a $5,000 production and I've worked on a $30,000 production.

Sometimes there's a massive difference. Sometimes there isn't a difference at all. But what I can say is the lower the budget, the more the people are earnestly and honestly putting every ounce of their being, every single piece of fiber into what they're doing. Because there is no payday, there is no payoff. Most of the time these movies get seen by three or 400 people, not millions, not even thousands.

So why are people doing this? Because of the absolute passion, the absolute love of cinema. It's one reason that the show has just been around for so long. There are all different reasons why people are attracted to it, why people love it. But all I could take sitting there with this movie just sort of bouncing back and forth like a ping pong ball in my brain is every angle, every piece of this is a love letter to not just cinema, but independent cinema.

The term indie is thrown around so lightly. People still call Quentin Tarantino an independent director. Martin Scorsese is still referred to as an indie director. Maybe Once upon a time, Killers of the Flower Moon wasn't a bunch of people in their backyard trying to get a movie made. Real indie artists are just regular Joes who compete with this machine that is Hollywood with a machine that is almost Terminator.

ESQ The way big budget movies are made, it's almost designed to kill the little guy, film festivals and more. It's all this big loop to kill the little guy. Creator dies standing on a mountaintop, yelling to the masses. There is more. There is so much more to this modern indie, especially indie horror, I think is plagued with thousands of people that never want to be themselves.

They want to be the next Rob Zombie. They want to be the next John Carpenter. They want to go out and make a slasher movie because they grew up loving Halloween. They don't ever want to be themselves. They don't ever want to be the next Insert your name here. It's always some fighting for style. Well, I want it to look like this guy's movies, and I want this scene to be just like this guy's scene.

Nobody goes out of their way to be themselves and watching Creator die. It was just evident and powerful. Here's David AX. This is a person who only wants to be themselves, who only wants their work, their message, their heart to be seen by people. They're not faking. They're not trying to be anything other than they're not. And I don't mean by any means and I'm not talking about any one director specifically to suggest that every independent artist out there is just trying to be something they're not.

But it's overwhelmingly true. There are people that are beautiful artists and they have these hang ups where it's kind of just, Goddammit, I just wanted to be like John Carpenter. We got to have a synth score. We need to have a Steadicam. We got to do this and it over blows everything so much. It's not their project anymore.

It's. It's an homage, But that's not the right word. A tribute. There we go. It becomes something that it never intended to be. And dare I say, it's not natural watching this film. I was really shocked. And we have discussed hundreds, if not thousands of movies over the years on Death by DVD, big productions, small productions, and we have nitpicked billion dollar movies.

We have nitpicked $30 movies, or maybe we have nitpicked $30,000 movies. And in this documentary, you'll hear David AX say, I've made, I believe, two movies I don't have to apologize for. This is a person who right off the bat knows that they have made, in their words, some really bad movies. But what makes a bad movie is there's such thing as a bad movie.

Well, to quote a film written and directed by David AX, there are no bad or good movies. They're just finished movies. And this quote comes from his film ACORN, which creator Die essentially is about. And now we've gotten back to where it all started. And we have a point. Isn't that great? You didn't think I had one, did you?

But I do. ACORN is a movie about a director who has found out that they have terminal brain cancer. They were about six, seven months to live. So they do everything humanly possible to get one last film made. It's not about fame. It's not about stardom. It's not even so much about a legacy. It's about somebody committing an act of unconditional love for what they have spent their life doing, what enamored them, what brings them happiness and absolute joy.

And that is how I feel completely about filmmaking. It's how I feel about movies in general, even the bad ones, but especially the good ones. And through this act, we get a pretty courageous film of film that I will say has a lot of balls. David AX tackled a project that on paper I think would sound insane. And it has a flow, it has a soul, it has power.

But at this point in the show, I don't want to talk too much about the work of David AX, even though I've pretty much been doing that the whole time. I really want to focus on Sara massey and the documentary Create or Die. I don't know any of these people, and all I do know is what I've been able to Google and put together since receiving this email and being excited and being taken aback by this documentary.

When I finished it, I just had to sit there for a little while. I've seen it twice at this point and my thoughts still remain largely the same. The person that made this truly, just as David acts does, loves cinema. They love film. It might not be cinema, but the art of filmmaking, something that so easily isn't considered an art form.
So many people take movies as just a sheer source of entertainment, and that's all it is. It's just to be entertained. It doesn't matter. It's just a movie. Well, you tell that to the gaffer, you tell that to you tell that to Food Services, who had to be on set 3 hours before everybody else. There's a lot more to this than just a movie.

Their careers, lives, hopes, dreams, fantasies, all of that. Which and more that you can apply to your daily life. Filmmaking is much more than just time wasting watching something because you've had a hard day at work and you just want to clear your mind. That's great. You can use film that way. It's one of the wonderful things about movies and filmmaking in general is that there's a thousand different ways that you can look at it, but to be so easy to dismiss it as not being an art form is silly.

It's asinine, it's rude, it's ignorant, it's very ignorant. Even the most deplorable, disgusting films that you just can't fathom to see. A lot of people have problems with. Cannibal Holocaust recently on Death by DVD have been discussing your boot Graetz work. Talk about Nick Romantic and Nick romantic two Return of the Loving Dead. Very offensive movies, very dark movies, independent movies.

And it would be so easy to just read the IMDB synopsis about what these movies are and not take anything from it. That's one reason why I like to talk about movies like that is to give an idea to you out there in Radio Land that there is more than meets the eye. You have these four walls of a film and there's so much more outside of it.

It's a forever growing universe that just keeps expanding and expanding and expanding. Now imagine the universe in a filmmaker's head. It almost seems unimaginable. And that's the thoughts that I was left with after this film. Sara massey has made just an almost perfect almost. It's it's really perfect, a perfect documentary because as I'm watching this, which I hope you will, too, you strongly the entire time.

And as I've said, I don't know what their point in making this was, but for me, with every second that arches forward, all I wanted to do was watch the films of David Arquette. All I felt like was being exposed completely to the films of David AX. And I'll tell you completely and totally honestly, the night that I sat down and watched this documentary, I ended up canceling going to a 40th anniversary screening of David Lynch's Dune, which is infamously known as a bad movie.

I like it, but critically it failed. I canceled going to seeing this on the big screen because I got so wrapped up into the work of David AX. I watched the documentary and immediately, immediately watched one of his movies. I got on my computer, looked up where I could find them, and I'll let you find folks. No, I happily rented them and maybe I'll go on a rant in a little while about people not wanting to pay for art.

And I understand that. But you see, a movie is $3 and you choose not to rent it and you choose to watch something you've already seen before or a TV show or something. Spend that $3. You don't know how much that means to an independent artist. And it does. It means so much. But maybe I'll get back to that in a minute.

So I finished this documentary and I dedicated hours and hours and hours to the films of David AX. I don't feel I've been sold a product so well in years, and I don't want to summarize, create or die as something that is selling a product. It's somewhat is, but the product that it's selling is the love, the passion, the blood, the sweat and tears that people put into independent productions.

Your avatar, if you will, is David AX, and you enter. It's a documentary, but just fucking humor me here. You enter the universe of this film and you are presented with David AX and you follow along with David AX and Company and you learn from people that have dedicated their time and their blood, their sweat and tears to his work.
You enter this universe that is so appealing and just delightful. These people love what they do so much and they know they're not changing the world. I think this is is almost a necessity for independent artists to see. I really think that this film created by Sarah Masi, Create or Die, should be seen by every artist that shooting movies under $20,000.

Fuck that had $100,000 budget. I have referenced this a lot on the show before, but the Witch Robert Eggers film The Witch, it's technically you could call it an indie film, but that movie was made on $3 million. Now I know $3 million sounds like a lot of money, especially if it's coming out of your pocket. I don't have a million.

I'll be honest with you. I'm not even a thousand air. But that movie is is gorgeous. It looks like a lot more money was used. Independent productions in this modern era can be insane They're their budgets are more than most people make in 2030 years. But somebody like David AX is working with $10,000, $15,000, $20,000. And throughout this documentary, he openly talks about how bad some of his movies are.

And for me, a bad movie kind of sure. I was just so I was aching. I had to see them and I knew immediately, Well, I can't start with the one he says is good. No way. Don't want to see that first. And I went back through his body of work and I spent that entire night so excited.

Not once have I felt bad about missing David Lynch's dune theatrically, not once, because otherwise I would have never been exposed to this guy's work. Are some of his movies bad? You bet, sure. But what makes them bad is that because of the budget? Is it because it's not the greatest actors in the world? Sure. All of these things are very skin deep.

And as I've made point to earlier, sometimes we talk about very famous movies on this show. Sometimes we talk about movies you might have not heard of. The budgets are all up in the air, but what makes a movie good isn't the budget. It isn't the actors, it isn't sometimes even the director. It's the soul of the thing.

And yes, films are inanimate objects, but you have so many people working passionately on something, you can't tell me that there isn't a soul to certain films. At least there is a energy of this tribal community that has come together and focused on what they're doing, and everyone has worked together to make a better, greater good. Even if only 400 500 people end up seeing it.

We have to go back to the beginning of things here because the telling point, the thing that really caught me and was like a fish hook in my mouth for this documentary was hearing David AX say, I'm just going to make a movie every year until I'm finally good at it. What tenacity? What beauty? What? I don't know.

I mean, I've never heard anybody say something like that before. I've seen so much. I have worked on a lot of different things. And through doing that and Death by DVD itself, I've met a lot of interesting people, a lot of independent people, a lot of big people, B-movie actors, all sorts of stuff. I've heard stories from people that were making big productions in the seventies and eighties.

I've heard stories from little people that have been fighting their entire lives to let their movies be seen. I've talked to actors who have just been in one movie and people walk up to them on the street 20 years later and still, I can't believe you did that movie. Or are you getting checks for that movie big and small?

I have a firm and realistic understanding of what it takes to make a film, what it takes to put into yourself and others to be reliable and supportable and make a film. And I just have never heard anyone talk. The way that David acts has has spoken in this documentary. It's mind blowing. I've never seen or heard somebody so transparent before that is is so willing to talk about their mistakes and talk about their growth.

Most people are ashamed of it. Most people are ashamed of their earlier films and hide them in a dark closet if they even get released, if they even get finished, which is, again, another pivotal, really wonderful thing about this documentary is hearing this person say, I don't care if it's a piece of shit, I'm going to finish it no matter what, because it's my message and it's because it's what I'm doing.

This is my life. Somebody that has put themselves out there so vibrantly, it's not safe. I mean, let's just look at a trailer. You're making a movie and you've got a trailer for your movie. So you put that on YouTube, you put that on Vimeo, you share that on Facebook, Twitter, Instagram, put it anywhere that people can see it.

And then instead of people seeing the movie, this looks like it sucks. This looks like it's shit. This looks like it's trash littered all around. You make one bad movie, go check it out on Letterboxd 500 reviews about it sucks that one person's given it three stars because they tried. And that'll be the review. You have to live with that You as an artist go through and you're reading this stuff.

It eats you alive. I have never seen somebody with such courageous attitude, somebody that just is empowered by their love of film. It is transcendental, man. It's fucking I don't know, I'm stumbling all over here, but I was just awoken. I don't know the word that I want to use. It slapped me. This documentary slapped me. Just. Just straight in the face.

Perhaps it has encouraged me to do a little bit more of the things that here in there I know I talk about on this show that I want to do, but it has certainly stirred something inside of me. And what I find just so wonderful is how quickly it gave me an attachment to the work of David AX and made me want to see his movies.

Somebody is standing in front of you going, Well, this movie's really bad and fuck it, I want to see it. I got to see it and I did. Or I've not seen every film that Mr. AX has made, but I have watched a handful of them so far. Some good, some bad. It's arbitrary. It's arbitrary. What's good or what's bad or who whose opinion it is or it's mine.

You're listening to this show because you probably like my opinion, right? But it's not set in stone. It's not the fucking word of God. Some things that I think are really good many people don't think are good just because they say something is bad that doesn't mean anything. Just because they say something is good. That doesn't mean anything.

You have to make those decisions for yourself. But that's that's sort of the beauty. Sort of. That is the beauty. That's the beauty itself in this art form, this ever challenging, ever growing medium, making movies changes every single year with with more tech knowledge, things are always becoming more and more expensive. And you find these people, these soldiers of the art that are persevering.

And no matter what, finding a way to make it happen, That's it's courageous. It's beautiful. It's a crusade for the sake of the fucking art form. Movies can't just be left up to millionaires. You can't just have big studios making movies because then there's no actual interpretation of art. The little guy matters that one person, their thoughts, their provocations, why the movie is set up the way it does.

All these intricacies matter. So something might be a quote unquote bad movie. But you have to look at the effort of the writing and the production and how they made this. And I am quick to say that your production stories don't matter. I bring that up a lot on the show. It doesn't matter if you had a hard day, It doesn't matter if one of your actors quit, If you got the project done, that's all that matters.

And that takes us back to this beautiful quote from the film ACORN by David AX, which creator Die essentially is a documentary about that film. There is no such thing as good and bad movies. They're just finished and unfinished films. And David AX certainly finishes his films. And to me, that is the epitome of good. You can say they're bad, you can say anything's bad.

I don't give a shit, but it's finished. There's no tag attached to it. Well, we had a really, really hard day. That's why this scene is the way. No, you work your way around it. There are stories in this documentary that made my jaw drop. For example, while making a movie one of David's lead actors showed up with a necrotic spider bite.

They sent them to the hospital immediately. And what did David do? He didn't quit. He didn't get upset. And well, he probably got upset a little bit, but he went inside and he rewrote the movie in a couple of hours so they could still shoot that day and get the goddamn thing done, because that's the point and that's the purpose.

And now takes us back to Sarah Massey, who made this documentary. I don't know if the purpose and the point was to get you to watch the movies of David AX, if that is entirely the point of this film. Well, I can say certainly it worked and it sold me on them. And I honestly am very, very happy to experience the work of David AX.

I'm glad to have seen his work. I find him very inspirational. I really think that the point of this documentary, more so than selling a product or pushing you into a direction is enlightenment. Truthfully, there is. I could spend hours and hours talking about productions and what goes into getting a movie off the ground and all of this and more in a very tight, concise, terrifically edited documentary.

You get all of it. You get this experience. So it seems to me that Sarah found, a perfect muse, that they found someone that was the greatest model to talk about the love of cinema. And you can hear Ridley fucking Scott talk about movies. He bitches most of the time. It really blew my mind. This whole experience watching Creator die.

For me, it seems like it was made by an individual who loves cinema, who loves the story of cinema, and it's about someone who loves the exact same things and the compatibility of this director making a documentary about this director. It creates such a wonderful product. At the end of the day, it's shot great, it's got great sound and there's no wander wrong.

From the very first scene. You're hit with something incredibly poignant and you just want to watch more. It's statically pleasing, sure, but the whole fucking thing was so pleasing. I just don't know. The last time I honestly watched something from beginning to end and. And was just that excited. Like hell yeah. Hell yeah. That was good. It made me want to create more.

It made me want to put myself out there more. It gave me warm, fuzzy, tingly feelings. But it really did. It really did. I'm not being an asshole. I'm not being sarcastic. It got under my skin. It's still under my skin. And I had to share it with you. I don't know if I've done a good job of talking about any of these people.

I don't know if I've complimented them the right way or have discussed the documentary in the right manner, and I was a little bit troubled by all of it, to be honest with you. I had a plan for this week's episode and I got this email and it stopped everything. It stopped my plans. It changed the gears in my mind, and I had to sit down and figure out some way somehow to share this with you.

The film is called Creator Die 2024, directed by Sarah Masi. It's available on Amazon.com. You got to rent it two or three bucks, but that makes such a difference. There's a big misconception about releasing films that you have to go through. Film festivals. The only way people are going to see your movie sometimes you can rent it for $3 on Amazon.

Sometimes you can make just as much of a difference by renting it for two or $3 on Amazon. And I don't feel $0.01 is money wasted. Honestly, if you listen to this episode of Death by DVD, you rent creator die and you didn't enjoy yourself. I'll give you $3 back, I'll pay you $3, take a chance. I think that's a big sentiment statement with this film in general.

Take a chance. What are you waiting for? Make your movie. It's not going to be easy. You're going to learn how hard it's going to be through watching this documentary. And I said earlier in the episode, I think every independent artist should see this. I've already started emailing indie artists that I know. Have you heard about this documentary?

You had to check this documentary out? I'm trying my hardest to share it with all the indie people I know, and that's when it hit me. Well, you got to share it with everyone. The dead studio audience. You need to watch this. This might help you understand and form an adoration like mine. And not everybody has to love movies the way I love movies.

You don't have to love movies. The way David acts, loves movies, or how I presume Sarah Massi loves movies. I could be completely wrong, but I really do feel the person that directed this documentary, they just have to be enamored. They just have to have a love with film. I mean, for me, it's taken up every single second of my life.

It's either what we're doing with this show or what the hell am I going to watch? And the 5 seconds that I don't have to worry about working on Death by DVD and I love it. I wouldn't change it for the world. I wish I could see every movie ever made and I'll die trying to. And this documentary is about people very similar to why you listen to the show, or I presume why you listen to the show because you love film.

You want to hear more about movies, you want to hear more about cinema and the creation and the making of these movies. And I think this is perfect for you. I have no affiliation with anybody involved in this. I don't know anybody whatsoever. Never had a conversation with anybody whatsoever. I watched this after it was suggested to me, and it's all I've been thinking about.

It's it's been infecting my brain. And I just I am shocked by how inspiring it is. Truly, we live in an ever each day becoming more negative world. Doesn't matter where you're at in the world, it doesn't matter your beliefs. It's true. It's it's happening. The walls are coming in on everybody nationwide state to state, country to country, pole to pole.

And then there's something like this, just absolute pure positivity. It was a treat. I am very thankful that I was able to see this documentary. I'm very thankful that I've been introduced to the work of David AX, who I will continue following. And, you know, maybe maybe I'll come back and talk about some of his movies on a future episode.

I didn't want to do that too much here because I didn't want to put a line in the sand over talking about this documentary. And then we're going to talk about David's work. But what I can say about the films that I have watched that were written and directed by David Acts is this person puts absolutely everything that they have and more into what they're working on.

It might not be the best, it might not be the most, but it is all that they have got and it is love. It's everything I've seen. There has been a beautiful amount of attention to detail and love, and the budget might not be big. You're not watching Kilian Murphy and Robert Downey Jr. You're watching normal people like me and you who are trying their hardest to put their heart into what they're doing.

And there's something very rewarding about it. There's something very beautiful about all of it. And with that, jeez, I think we're at the end of this episode. I am so excited to share this with you. Please give me feedback. Tell me about it. Tell me that you watched this and let's talk about it. I would love to know how it made you feel.

And also importantly, if you do watch this and if you use Letterboxd or IMDB, go rate it, go leave a review. Let the filmmakers know. Let the people these indie people know. Because I guarantee they're reading. They're watching. I mean, that's how I became pals with Hunter Johnson, independent artist, writer, director, actor, musician, ghost hunter, Hunter Johnson. I reviewed one of his movies and I was very, very mean.

I was hurtful. It was crass, it was crude, and I didn't think anybody would give a shit. I watched a movie on Tube at two in the morning and I laughed a little sarcastic. Ha ha ha. Look at me. I'm a funny guy. I'm a clown. Laugh at my jokes. Review on Letterboxd and Hunter Johnson saw it and honored.

Johnson got kind pissed off by it and we ended up having a conversation. And similarly to how this documentary got me to watch the work of David AX, I sit down and I immersed myself with Hunter Johnson. I watched every single film that he'd made, and then he gracefully and gratefully came on Death by DVD, gratefully for me, I was very grateful, came on Death by DVD, and we had a tremendous show talking about his work.

And you know what? Who's the asshole? It was fucking me because I ended up liking his movie so much. But I let one movie, one mean spirited review that judged the entire thing for me. Don't be that way. I am so grateful for somebody like Hunter Johnson, who taught me a wonderful lesson and even more grateful for this documentary and this film by Sara massey, because it has allowed me to open my mind even further.

It has allowed me to enjoy things even further. It has given me hope. It has made me want to do more, and I hope it does the same for you. I think it's terribly inspiring. It's beautifully inspiring and it's independent. This is an indie documentary about indie artist making indie art. It's so easy to type that little hashtag support indie art support indie movies.

You can actually do it. You can spend three or four bucks and rent this on the Internet. You can watch it. You can tell your friends about it. Leaving reviews really makes a difference in the world of Independ and art, because now these people aren't alone in the dark. They know that you're out there, so don't dream it, be it, and don't just type a hashtag.

Actually support independent art. It's not that hard. And I won't even go into a sales pitch at the end of this episode. You know where to find us. Death by DVD Dotcom. You can Google me, you can the movies I've been in, you can buy them just your own. If I'm promoting anything on this episode, its creator Day.

I've said it several times before on this episode, but I am very thankful to have been suggested this and I'm very thankful to have seen this. Please watch it, find it, see it. Tell me all about it. Tell me what you thought. Until then, the ashtray is full and the bottle is empty. You have been listening to Harry Scott Sullivan.

And until next time, Pleasant tomorrow's indie Forever. Forever Indie. Indie forever.