BEST OF THE WURST: Barry Wurst

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Jason Schwartz with BARRY WURST– TNZ – The Neutral Zone- Film critic and UHMC Professor of CreativeMedia Film Barry Wurst is a fun guest with Jason. 4-1-2019

Summary & Transcript Below…

1. 1. 1. “The Neutral Zone” Show with Barry Wurst (April 1, 2019)

 

[00:00 → 02:26] Introduction and Opening Remarks
The show opens on April Fool’s Day with host Jason Schwartz welcoming listeners to “The Neutral Zone,” broadcast live on KAKU 88.5 FM, Voice of Maui. Jason sets a lighthearted yet thoughtful tone, referencing the day’s theme of not being fooled and introducing the concept of “The Neutral Zone.” The opening includes a brief nod to classic rock with a mention of the Rolling Stones’ “Sympathy for the Devil.” Jason also humorously comments on his Elton John-style white glasses, setting a casual, engaging atmosphere for the audience. He hints at a journey through different times and places in the world of cinema, promising a blend of historical and contemporary film discussion.

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• [02:26 → 08:42] Introduction of Barry Wurst and Film Class Discussion
  Barry Wurst, a film critic and professor at University of Hawaii Maui College (UHMC), joins the show. Barry shares how he teaches a university film class that has deeply influenced him and his students’ perspectives on cinema. They discuss the significance of the 1968 film Sweet Sweetback’s Baadasssss Song by Melvin Van Peebles, a landmark that launched the blaxploitation genre and transformed Hollywood’s portrayal of Black characters from degrading stereotypes to empowered protagonists. Barry reflects on Sidney Poitier’s pioneering work, noting that while Poitier broke barriers, his roles often symbolized a singular ideal rather than fully rounded characters, a point Jason agrees with, highlighting the “auteur” quality actors like Poitier and Paul Newman bring to their roles—carrying their own presence regardless of the character.

Barry recounts his own early experiences with film, including memories of Star Wars in a Florida theater and discovering his mother’s career in 1950s Japanese B-movies. He also discusses his father’s amateur filmmaking, which inspired his passion for cinema. Barry emphasizes the rich arts community on Maui and how it nurtures creative expression, noting that despite technological shifts, the love for arts remains strong.

• [08:42 → 14:47] Barry’s Career Path and the Maui Film Culture
  Barry details his path to becoming a professional film critic and educator, highlighting his academic journey in Colorado and Denver, including earning a master’s degree and joining the Denver Film Critics Society. Inspired by this, he founded the Hawaii Film Critics Society in 2015, filling a gap in the local cultural landscape. He reminisces about meeting Roger Ebert in Maui in 1994, an influential figure who remains a touchstone for critics.

Jason and Barry discuss the local Maui film scene and community resources like Paradise Video, the last video rental store on the island, which serves as a cultural hub for film lovers. Barry laments the decline of traditional video stores and the communal experience they fostered, contrasting it with today’s isolated digital streaming habits. They acknowledge that many films remain inaccessible online, making such physical spaces culturally valuable.

• [14:47 → 23:05] Film Knowledge, Class Dynamics, and John Woo’s Career
  Barry shares how his film class encourages deep engagement with cinema, including international films and directors. They discuss the 1985 film Runaway Train, directed by Russian filmmaker Andrei Konchalovsky, starring Jon Voight, illustrating the fascinating global collaborations in cinema. Barry demonstrates his extensive film knowledge and ability to pronounce Russian names, impressing Jason.

The conversation shifts to John Woo, a celebrated Hong Kong director known for his balletic action style. Barry outlines Woo’s career trajectory from Chinese cinema to Hollywood, highlighting key films such as The Killer, Hard Target, Face/Off, and Mission Impossible 2. He explains Woo’s distinctive style—slow-motion action sequences, flying doves, and poetic violence—and how American studios often toned down his original violent cuts. Barry notes Woo’s versatility beyond action, including comedies and musicals, but acknowledges that his reputation remains tied to his signature action films.

• [23:05 → 27:23] John Woo’s Filmography and Impact
  Barry elaborates on Woo’s Hollywood films: Broken Arrow, Face/Off, Mission Impossible 2, Windtalkers, and Paycheck. While some films received mixed reviews, Woo’s influence on the action genre is undeniable. Barry praises Woo’s artistic commitment and ability to create cinematic poetry even within high-octane action. They draw parallels between Woo and other versatile filmmakers like Clint Eastwood, emphasizing the evolving nature of a director’s career.

Barry also touches on his love for television’s golden age and modern TV shows like Breaking Bad and the Twilight Zone reboot, underscoring the current high quality of television storytelling, sometimes surpassing film.

• [27:23 → 29:40] Community Engagement and Station Promotion
  The show pauses briefly to thank local sponsors and promote the KAKU radio station and its community programs, including “Open Mic” sessions that encourage local voices in arts and public discourse. The segment also highlights the Grateful Dead radio program and the importance of community-supported media in Maui.

• [29:40 → 34:44] Maui’s Artistic Community and Local Film Scene
  Barry and Jason return to discuss Maui’s dynamic arts scene, including theater and music organizations, emphasizing the island’s rich cultural fabric. They praise local filmmakers and artists such as Brian Kohn, David Johnston, Sally Sefton, and Frances Tower who help sustain Maui’s creative energy. Barry reflects on the challenges of maintaining live cultural events amid commercial pressures favoring more profitable ventures, lamenting the decline of live Hawaiian music and cultural performances.

Barry shares his own long-term connection to Maui, having moved there in 1987, and expresses pride in the island’s artistic resilience. Jason highlights recent local films like Stoke and Kuleana, which offer authentic Hawaiian narratives and perspectives often missing from mainstream portrayals.

• [34:44 → 40:57] Local Filmmakers and Authentic Hawaiian Stories
  Barry discusses the lack of authentic Hawaiian representation in mainstream cinema, where films often depict Hawaii through a narrow, tourist-centric lens. He praises independent films that explore multicultural local realities and history, such as Picture Bride (1995), which uses pidgin English and portrays the complex cultural fabric of Hawaii. Barry stresses the importance of Hawaiian filmmakers telling their own stories and expresses hope for a uniquely Hawaiian cinematic voice to emerge—comparable to Spielberg or Nolan but rooted in local culture.

They celebrate Destin Cretton, a successful Hawaiian filmmaker who has moved into Hollywood mainstream with films like Short Term 12 and now directing a major Marvel movie. Barry sees Cretton as a beacon for local talent with global reach, inspiring students to pursue their own filmmaking careers.

• [40:57 → 46:03] Hawaii as a Center for Sustainable Creative Industry
  Barry and Jason envision Maui as a hub for a sustainable, exportable creative industry that authentically represents Hawaiian culture and identity. They emphasize the unique position of Hawaii as a bridge between East and West and the potential for films made here to have international impact. Barry notes the passion and curiosity of his students, who eagerly absorb his encyclopedic film knowledge, and encourages others to explore the UHMC creative media program.

• [46:03 → 50:52] Upcoming Classes and Film Genres: Horror and Comedy
  Barry outlines his upcoming teaching plans, including a revised world cinema class, a history of mass media course, and a highly anticipated horror film class scheduled for the following year. He shares insights on horror films as a genre, particularly the cathartic appeal for female audiences, and discusses the evolving nature of horror in society—especially post-9/11 and in the digital age where real-life violence challenges filmmakers’ ability to shock viewers.

Barry and Jason also discuss the relationship between horror and comedy, citing An American Werewolf in London as a prime example of a horror-comedy that balances terror with humor. They mention Ghostbustersand other genre hybrids, reflecting on how humor often emerges naturally in horror films.

• [50:52 → 55:11] Film Festivals, the Netflix Debate, and Distribution Challenges
  Barry addresses the complex relationship between traditional film distribution and streaming platforms like Netflix. He highlights the Cannes Film Festival’s exclusion of Netflix films due to their bypassing of theatrical release windows, which challenges the traditional film ecosystem. Barry praises Netflix for making films more accessible to wider audiences but laments the loss of the communal theatrical experience, especially vital for art-house films that thrive on word-of-mouth and post-screening discussions.

He notes the dilemma facing international and independent filmmakers: choosing between the guaranteed but possibly limiting exposure on Netflix or the uncertain path of theatrical distribution. Barry cites Orson Welles’ final film, The Other Side of the Wind, released on Netflix, as a recent example of this tension.

• [55:11 → 56:50] Closing Remarks and Show Wrap-up
  The conversation wraps up with Barry and Jason exchanging thanks. Barry invites listeners to explore UHMC’s creative media program and encourages engagement with local film culture. Jason promotes the show’s online presence on YouTube and Facebook and thanks sponsors and listeners for their support. The show ends with a musical outro and warm goodbyes, reinforcing the community spirit and shared passion for cinema cultivated throughout the episode.

1. 1. 1. Key Insights

• Cinema reflects societal changes and cultural identity, particularly regarding underrepresented groups such as Native Hawaiians and Black Americans.
• Maui maintains a vibrant arts community despite technological shifts and commercial pressures that threaten traditional cultural venues.
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• The evolving landscape of film distribution, particularly with streaming services, presents both opportunities and challenges for filmmakers and audiences.
• Film education plays a crucial role in expanding understanding and appreciation of diverse cinematic voices and histories.
• Genre films like horror and horror-comedy offer rich ground for exploring cultural anxieties and emotional catharsis.
• Local filmmakers like Destin Cretton exemplify the potential for Hawaiian talent to impact global cinema while maintaining cultural roots.

1. 1. 1. Recommendations for Viewers and Listeners

• Support local film and arts organizations on Maui to sustain the island’s cultural ecosystem.
• Explore the UHMC creative media courses for a comprehensive education in film history, theory, and production.
• Visit Paradise Video for a unique community film experience and access to rare titles.
• Engage with independent and locally produced films for authentic Hawaiian stories.
• Reflect on the changing nature of media consumption and seek out opportunities for communal viewing and discussion to enrich the cinematic experience.

This episode of The Neutral Zone offers a rich, layered exploration of cinema’s cultural significance, Maui’s artistic vitality, and the challenges and opportunities facing filmmakers today. Barry Wurst’s expertise and enthusiasm provide a profound appreciation of film as both art and industry, inspiring audiences to look deeper and engage more fully with the moving image.

00:00

yeah and don’t miss  Monday is live at 3 p.m. on kaku 88.5 FM voice of maui this message is for all of you sitting in the passenger seat and apologies if it gets a little uncomfortable but how does it feel to be at the mercy of someone who thinks a random text is more important than your life someone who takes their eyes off the road while speeding along in a three-ton hunk of Steel freaky right well why not just ask them to stop or better yet volunteer to text for them it might be a little awkward but believe

00:32

me you’ll live learn more at stop text stop wreck stork brought to you by the Ad Council in the National Highway Traffic Safety Administration it’s Monday at 11 o’clock it is April 1 we’re not fools we’re here at the neutral zone welcome to the show I’ve been around for no man a man sold away [Music] wash his hands but what oh I know that song that’s a Mick Jagger not Mick Jagger singing but Keith Richards and Mick Jagger oh god I was a little guy that I was probably 20 years

01:55

old less that’s a long time ago sympathy for the devil yeah I chose that as a song to play after our little jingle I thought that people wonder what the heck is going on here this neutral zone or anything but neutral welcome to our show this is Jason Schwartz these glasses I’m feeling like Elton John today we’re in these very white glasses I can’t see I was told that you didn’t hear what I opened the show it is April Fool’s Day but we’re not fools it’s April first and

02:26

we have a wonderful show today when I say 2019 it’s a little surreal because we could be in any year we are going to go on a journey today through all kinds of years all kinds of places sometimes we’re going to go to the best place but right now we’re gonna go to the Wurst place nice very well done we have barriers wur SD I must say Mary is the best thank you my lady friend Harry hell you’ve seen there no Arielle saw your review of Stoke a movie that I got the scene in your class right at

03:11

university – why Maui college creative media world cinemas I changed my schedule to be in your class and it is it’s on a Wednesday night huh and it has been such an incredible learning experience but also the movies that we get to see and the perspectives that we get you know some of you out there just a few are as old as I might be and when I see someone who’s surely decades younger than me talking about movies that I went to the movie theater I remember sweet badass and you know bad ass song and

03:50

and I remember the exploitation that the moment black exploitation films I didn’t think much about it at the time but now looking back at the what was going on and remembering social mores and how things are different Barry I want you to jump in with fun well thank you so much no I’m thrilled that you’re in my class let me have the chance to meet ya I I love that too because I remember being as for example as a kid all those movies were taboo for me a particularly sweet sweetback’s badass song as you spoke

04:25

about earlier the film which came out in 1968 this is the film that gave us the blaxploitation movement of his written directed produced and basically cobbled together by the wonderful melvin van peebles it’s the movie that basically changed the image of black men and women in cinema forever prior to sweet sweet back if you saw a black man a woman in a movie typically they were a homeless person or a chauffeur or a butler or or something truly condescending and degrading because that’s how it was in Hollywood

04:53

at first for too long Sidney Poitier was a breakthrough and the movies he made were fantastic but a lot of the characters he played unfortunately were very OneNote and he was playing more of a symbol and he was a character and I loved in the heat of the night that’s a fantastic movie and I you know I love to show with love he made some great films but those characters there was it’s almost like he was playing the prototypical Sidney Poitier role and I say that with respect because he was a true groundbreaker he

05:26

really was well you know it’s very funny that you say that because as you’re talking it’s reminding me in class he taught us a word that I called oh yes so that’s the director and their style yeah I was mentioning that Sidney Poitier I don’t know he’s an author of his role yes I agree with you yeah like Paul Newman yeah when you see a Paul Newman movie no matter what role is playing you saw him coming through he created his own sigh oh yes his new party a same thing he was creating a symbol outside of

05:58

every role he sort of carried his own presence yes I’ve learned that with you in films could you imagine going I have not really been a fan of violent movies and I have a lady friend who we don’t go to violent movies because those images Joomla so here I’m getting the exploration into horror and violence and seeing society changed through the direction a wonderful direction of you how long have you been involved in looking at film uh since I could crawl basically the honestly I mean just take

06:31

it back a little bit the oldest memory I have is seeing Star Wars in the movie theater with my father and I apparently was in a movie theater in Florida I remember there being a lot of neon lights in the theater and I remember looking up at the screen and specific images that have stayed with me and I remember even as a very very small child thinking whatever this is I want more of this this is great and when I grew older I learned that my mother was a star in Japanese B films back in 1950s she was

06:56

the American princess in a series of films called me Bordeaux she tanto if you turn if you go to Japan you turn on the TV at about 3:00 in the morning you might smell yeah I might see my mom like tied to a railroad track or tied to a chair with a bomb in her chest and this guy who is not Christopher Reeve climbs through a window and saved her so learning about that about my mother and also discovering that my father made a lot of films as a young man he was like a little Spielberg he ran around what

07:22

they think it’s eight millimeter camera and he was making these little war epics in his backyard and he actually showed them to me when I was in grade school and I was very inspiring to see my father make this ambitious film he made this movie called Exodus and and the opening credits of it it’s basically just sheets of paper with the titles on it and he set each paper on fire so this of the flee of the the titles go up in flames you see that as a kid it’s like that’s really inspiring my parents never

07:46

never said you know it’s not practical you can’t get into entertainment you can’t again some movies or acting because you need to be a lawyer nothing like that they basically said well if you want to do it do it so living out here growing up here my brother night yeah I’m out yeah we have we my brother and I were in Maui Youth Theatre production and we you know this is such an arts rich culture so getting into film and art and and television and theater very easy out here I find that there’s a real

08:13

rich community there’s always been a rich community I went to college for years and even when I came back moved back in 2014 I just found that it hasn’t diminished at all the love for the arts out here is so strong and so potent and so powerful so you moved back to you on the mainland working yes industry yeah what I was doing was basically I went to college in 1996 with the hope of you know just just being gone for four years and coming back that was that was all just just gonna go to college because my

08:42

father wanted me to go to college I didn’t want to go to college my dad wanted me to go and all my buddies were going so I thought well I guess I got to go to college and I was supposed to be four years I was a super senior I was one of those seniors who just took his time and I bombed some classes and I took them again and I bombed them I’m a great student now but I was a terrible student well it took a while so I wound up staying in Colorado longer than I thought I fell in love I got married I

09:08

got a job at the University of Colorado Springs where I was teaching film classes I got my degrees I got my masters from Denver University I became a member of the Denver Film Critics Society which inspired me to create the Hawaii phone critic Society in 2015 it was a big deal for me because Hawaii never had its own film critic Society seems like a small thing but for me it’s a very big thing because even as a kid I wonder like what is what are the Hawaii film critics have to say about so-and-so

09:32

and I became a professional film critic when I was 30 30 years old that was my dream when I was 10 to become a movie critic did you watch Siskel and Ebert as a kid I did what’s this going Eber and I read all the movies news you don’t know that he was a big deal Roger Ebert particular he came to Maui in 94 and we had a special screening and was incredibly nice that’s when I met him I got to meet him he did a signing at the Walden bookstore at Queen Camano Center and I got to meet him and spend some

10:03

time with him he was incredibly nice and he signed my book and it’s I still have the book it’s his to bury a movie lover love Roger Ebert like Thank You Roger Ebert he was he is the only movie critic to ever win the Pulitzer Prize he’s really there’s there’s you know there’s movie critics than these Roger Ebert he kind of fits in his own well I think I remember Gene Siskel and Roger Ebert they were like early in the Television Critics that I remember and they became memorable well you know you’re a

10:30

memorable writer here on Maui you know before I came to school I really didn’t have much understanding of Bari cuz you know and you all you see a name in the paper you don’t know but he’s also the star of locals I was gonna say stage but television you have a show every week I do yeah that’s right yeah and the name of your show is what’s going on which is the worried questions in the show yes he and Joel Agnew have a show that tells you what’s cooking here in Maui so if he

11:00

sounds like a looks like a familiar face to those some of you are watching on FaceTime some at Maui neutral zone calm summer listening on ka k you radio 88.5 FM because I’m here with Barry worse than you can’t see him but if you can’t see him this is the guy that has what’s going on yeah that’s him he’s the film guy he is here on Maui when I think about reviews years ago maybe I was gonna say when you growing up that’s not fair Barry is a you know I was gonna say not

11:32

only an adult he could almost end quote Asians so Rona someone who’s in if four days is like young to me but you know it’s a very interesting perspective that’s what this film thing has really been a historical journey have loved it but um I was talking about reviewers yeah john Woodhouse yes thank you for bringing up John Wood house I love John wood houses music now we news and rich at and ever of course yeah yeah absolutely guys again I I grew up on them yes he tend you also and it’s

12:09

really nice to see what you’ve done with it when you listen to his film reviews it on your show you pick what’s coming or you pick only what’s here what I do is we talk about movies that are coming out you know it’s a lot of things we specifically we focus on theater all the theater events we talk about all the con some of the big acts that are coming and then there’s inevitably because I’m part of the show it is kind of film heavy weight ride to keep it a little more balanced but some weeks there’s just

12:38

nothing going on but movies so I’ll talk about movies that are in theaters movies that are coming soon and also I’ll do a Barry’s pics as I call it and it’s just basically something that’s a little obscure and a little hard to find or something people may have forgotten and never have seen so I’ll make a recommendation and I always steer people to paradise video because it’s the last video store on the island it’s one of the only video stores left in America and they’re doing really well well

13:02

you’ve got me to go in and I got the killer oh nice you know alkyl and torn alone away he’s a wonderful man yes he is mentioned about where I could get the movies so there are resource in the middle of town in Kahului paradise video thank you very much yes you grew up on them probably but I else went away they well there was one in Pukalani that was the cuy building which now has Serpico’s it was it’s I grew up in Makkah Wow so this was a really big deal and it’s a very different culture now obviously

13:33

because it used to be the thing where Tuesday would come and be okay like it’s this is when all the new movies coming out and whatever the title was it’s like we got to get it so you’d walk in there and people be just kind of standing around milling around waiting for all the new movies to come out or you’d be you know waiting for you know the they always had these little tags these little tags on the boxes saying sorry we’re out entertaining and you’re waiting for the one you’ve been just

13:58

craving to see maybe someone at the last minute will come in put on the shelf very different culture and you’re standing around with a bunch of film nerds talking and talking story about movies it was just a different thing it’s back it reminds me back like when we used to have record stores you know in music stores and you would you just be talking to people about your favorite tunes and you just standing around you’d be talking to the guy over the counter about the new album that came out I

14:19

missed that because I do love I love how the Internet has brought so many people together and create so many so many languages as languages so many conversations rather but I do miss the the one-on-one conversation I do miss what video stories used to provide and I love that paradise’ video still has that because I grew up on video stores for me that was my film library and I think we’ve lost something because there’s something different about that dead sense of sharing in that community

14:47

versus being able to just kind of watch something all by yourself on your phone I like that the Internet makes many so many movies available but there’s a lot of movies that aren’t actually available believe it or not if you know there’s a lot yeah and yeah I just I missed that tangible thing of actually having a film and have having that conversation well you know I I was just thinking Yeti I was thinking coffee klatch but I mean I’ve seen private film things that people have in their home and they have

15:17

like on Monday night you can go to these guys house and watch a movie and they have at every week every week so maybe more film clubs but that’s a whole thing that’s gone and gone away I know certain parts of our culture we now get stuck looking at these little devices and we’re all getting separated and movies are available so many titles it’s like alia gets I can’t imagine with all the films in the world when we were in class the first day someone said something and Barry would come out with we could do it

15:50

here well I want to say show-and-tell it’s like I mentioned director I what’s your favorite fellow runaway train well how do you watch all these films and no no you mention runaway train I merely said Andrei Konchalovsky that’s a Russian film and it’s with of course they were wonderful well he’s controversial now but Jon Voight Jon Voight at one point wonderful it’s be very clear Jon Voight at one point there was it was DeNiro this Pacino was Hoffman and Jon Voight those guys were

16:20

the kings of 70 cinema and Jon Voight did this film in 85 called runaway train he did it with Eric Roberts and Rebecca De Mornay it’s an interesting film that you brought up because it was directed by a Russian it was written by a Kyra Kurosawa not only a Japanese filmmaker but one of the greatest and it has an American cast and wish it was filmed in Canada so as this bizarre amalgam and it’s one of the greatest movies ever made and it’s very hard to find well it’s very interesting that this guy knows isn’t he

16:48

knows how to say Russian names well you know anyway I have so enjoyed your class I want you to know for all of you out there United United the University of Hawaii Maui college has had lots of things that were two-year school now they’re a four-year college that campuses and I don’t know when it was but in the recent time Brian Kohn took over his crew he was our guest last week on the show I just wanted to keep a good thing going here because the reason he has a great program is because of course

17:20

having input from people like he’s brought on his team and you came this is an integer and I’m like so thankful that I skewed I changed my schedule on so I could take your class and I’m taking a class with audio live it’s terrific the University of Hawaii Maui college has a creative media department it even has a certificate coming up so if that’s a value as you’re learning things but Maui has such a wonderful resource of these guys the ability to be taught by people that have a wealth of knowledge and

17:58

really are I want to say you know there’s a master apprentice program you’re bringing along future Kurosawa’s and that’s John woos and and I can’t do that Russian when I forgot it Andrei Konchalovsky yes he did the tin drum that’s his most famous film but beyond that he’s interesting is he he he was brought on to finish this Stallone movie called tango and cash that might be the most successful film he ever made he was brought on basically they had gone through directors that movie was so

18:36

troubled it’s it’s Stallone and Kurt Russell and they brought him in to finish the film well you know it’s really very interesting to watch these directors you know I watch that stars and actors but I wasn’t really tracking directors but now that I mean when you hear the kind of things when I say John Woo I can say things like killer mission impossible I know this hard target yeah and well you know but also you get sweet and passionate gentle films I mean give us an example of a

19:07

dumb just trying to point out the the fun that’s in this guy take this class you you say oh how did this piece go with that piece go with this piece but directors have like they make their own tracks in the snow yes and they’re very interesting routes what’s a couple of more recent movies from John Woo well whoo is interesting because he’s gone back to making films strictly in China and they’re big films he did a film called the crossing and it was this two-part epic and it was dealt with it’s

19:40

basically it’s been referred to as the Chinese Titanic the story and both the film itself is this big expensive epic and then he went back to his action movie roots recently made a film called Red Cliff it’s a two-part film it’s this historical epic it’s one of the greatest films he’s ever made and the size of it the scope of it is just staggering at the time it was the most expensive film ever made in the People’s Republic of China and the last film I think he made came out a couple years ago is called

20:07

manhunt and manhunt is a return to the killer and hard boiled and hard target it’s back to his trademark shoot him ups with lots of slow motion lots of doves flying around and and speedboat chases and it’s that the plot of it is completely absurd but in terms of being an action movie it’s fantastic he has not lost his ability at all to make action balletic and poetic and he’s just someone who loves cinema he loves the language of cinema so there’s a lot of beauty in his image

20:36

don’t you love Barry’s words balletic Mike has a really good word you know we critics wouldn’t reading you you’re you were painting when REO was talking about your review of stoked it the excitement and and insights that you gave into that right now we had the great fortune to have him the director and the writer yep you know at our class and thank you for that that was that was a privilege oh thank you no I agree I’m so glad you were there for that yeah Joey Eisenberg and Phillips

21:09

Payson who wrote and directed and produced this film on the Big Island this is an independently made movie on the Big Island it’s interesting because as I’ve noted many times in our class how we do at a time we’re good okay I see because it’s only because I can’t see I’m lookin okay we’re at 20 meld 21 we’re good okay yeah it doesn’t give me the kill the kill signal fine I’ll just take out my double arm and throw some doves that’s a fire you know John Woo

21:38

you can’t come back to that style where did he go what kind of other things you had mentioned some names of films I thought boy that is so different than my vision of yes director when you’re hired as a director you know you decide whether you want to say yes or not if someone else wrote it and they’re offering you a lot of money to do something so the killer way back when he wrote and wrote and directed a that’s his hard target which was jean-claude vent you know I don’t want to spout

22:08

because you’re the expert i everything what I say everything I says guy made me what I am today whether someone told me WC feels that WC stood for water closet that’s not that sounds like a line that he would have thrown out there yeah but John Woo it’s it’s I love that you saw hard targets that’s his first American film and that was kind of the change for him because he did these two big films and in China being hard-boiled which is brilliant and then the killer which you’ve seen and then that brought him to

22:41

America and jean-claude Van Damme was the first one to say we need to give a shot we need to give this guy a shot because there’s a genius and he had a hard time making hard target because the studio said it’s way too violent apparently the original cut of that film was twice as long as the version you saw if you can imagine that apparently it was incredibly gory but after that he had the opportunity to direct Broken Arrow with John Travolta and Christian Slater which was a big success and that

23:05

led to faceoff which is the most successful American movie he’s ever made and it’s probably the best American movie he’s done because it looks and feels like the killer and hard-boiled it has that aesthetic and then of course Mission Impossible 2 which a lot of people have a hard time with because it’s a very well-established genre it’s a you know it’s it’s Ethan Hunt it’s Tom Cruise it’s IMF and it’s done in the John Woo style so there are doves flying around there’s all these

23:29

slow-motion action see with this I think it’s a great film people have a hard time with it because it is an outdoor it is the director with a very distinct style putting his personal imprint on the material some people have a hard time with that they they’re like I know what this is I know Mission Impossible is I don’t like the John Woo version of this but it was interesting it was interesting to see him do that well interesting because I thought it was a tame down version of John yes it’s very

23:53

tame for him yeah yeah but I was interesting but now he did I could be confusing did he do Driving Miss Daisy no different dude that’s Bruce Beresford Australian guy okay there was some what other movies Johnny let’s see after Mission Impossible – you came Windtalkers it was a world war ii film with with Nicolas Cage extremely violence probably it’s it’s been called the Wurst the most historically inaccurate military film ever made it takes a lot of liberties with history it’s a very well-done film but it’s not

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oh that’s all that’s sturdy he did a film with Ben Affleck it was based on a philip k dick novel called paycheck which is probably his tame missed me i think you could show that film in the Disney Channel it’s kind of embarrassing out saying it is and then the the failure of that film led him to kind of kind of looking inward and making films that a little smaller in scope his filmography overall if you look at the stuff that he did in China you’ll see comedies and musicals he did a Vietnam

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film called bullet in the head very appropriate title for John Woo and he’s a lot more versatile than some people make him out to be but because he’s so famous for his action movies he’s been pigeon holed for making action movies and it’s been hard for him because he’s tried to make films that are kind of against the grain but everybody wants to see the killer and face off on a hard target and I Emily should be grateful for that obviously because he really is one of our most influential and really

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one of our greatest action movie directors but as an artist as a filmmaker he’s capable so much well and I see this kind of discussion imagine we’re talking about one little piece you know I would skin barriers an encyclopedia an encyclopedic outline of great things like each subject like we talked about Clint Eastwood remember do you remember clintus yeah when he was doing movies he was the same kind of guy then he went through all this and doing all kinds of movies you know Lee Marvin

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I don’t know what making me think of these names these are all names that are old do you do you study older well of course yes we’ll work nine oh yeah and the history of mostly looking at television or I mostly film mostly film I mean I’m a I’m a TV guy because it’s funny it’s it’s ironic that what I’m about to say this because my favorite TV show of all time is the Twilight Zone and the Twilight Zone actually returns today there’s a new version of it on CBS all access that Jordan Peele the writer

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director has executive produced I love The Twilight Zone I love the golden age of television I do I look at a lot of that great stuff it’s funny because for all the things about the honeymooners for example that are kind of dated that show is brilliance and same thing with I Love Lucy same thing leave it a beaver like they are you know it’s quintessential TV and it’s absolutely terrific I do miss some of the Golden Age of TV the nice thing about TV now is not only is television great in some cases it’s

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better than movies a friend of mine got me hooked on Breaking Bad which I thought was better than every movie I saw that year there was a twin peaks’ came back two years ago and I thought it was better than everything I’d seen in theaters that year television is fantastic there’s just so much of it between all the streaming options there’s never been more options for TV we’re gonna take a break and go to people that can keep us running here I’m with Barry Wurst film critic wonderful

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professor at UHMC and it really is a pleasure we’ll be right back here the neutral zone with me Jason Schwartz would like to thank Maui Arts and Music Association tree makers found a of Maui for their support since 1991 hundreds of television shows and their maui arts and music dot-com website they have champion self-sustainability on Maui the neutral zone is earth live Mondays at 11 a.m. and replayed Saturday at 7 a.m. on kak u 88.5 FM the voice of Maui do you have something to say but can’t find an outlet did you know that

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goes with the Grateful Dead radio program on kak u 88.5 FM saturday night at 8:00 and Sunday night at 9:00 it’s dead air it’s an hour of killer recording stories from the tapirs section tall tales from the parking lot and I’ll throw in an interview from time to time hey I’m Corey Daniel Saturday night at 8:00 and Sunday night at 9:00 you’ll get dead air on kak u 88.5 FM it’s a voice of Maui hi I’m Jason Schwartz host of the neutral zone KNK u is a listener-supported station this means

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that all the great programs you hear like mine is sponsored by you as well as our underwriters if you would like to help keep the voice of Maui looking and clear go to kak UF m dot org slash donate today and give and don’t miss the neutral on mondays at 11:00 a.m. on 88.5 FM a voice as well you make sure his toys don’t have any sharp edges you taught her what to do when the smoke alarm goes off and to wear a helmet when she rides her bicycle you do so much to keep your child safe but are you using

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the right car seat for your child car crashes are a leading killer of children ages 1 to 13 protect your child’s future at every stage of life for information on the right seat for your child visit safercar.gov/therightseat a message from the National Highway Traffic Safety Administration and the Ad Council we are back I’m here with Barry Wurst he is the best film critic but died he is here on Maui with us Barry is a University of Hawaii Maui college professor in cinema and our guest here

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kak u 88.5 FM some of you are watching on television and wondering what is this this is radio on television you know if we were Larry King you might understand it a little bit more but that’s what we’re doing it you know Larry King is so much a Charlie Rose Charlie Rose Cavett you know he’d go way back there well you know interview things that sort of like could be on any medium in time we’re gonna be putting you know b-roll so some of our things we’re talking about will be visually available on TV and we want

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you to know that there’s a radio station because somehow people don’t know that kak you point 88.5 FM is act ikkaku Malley Community Media but as a separate radio station that needs separate support and also needs to find viewers like you so coach other and amazing shows on on the station and they’re also on Facebook live you can find this show and all the previous shows of mine at Maui neutral zone calm which and they’re all up on YouTube so we’re trying to get everyone to be

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looking and finding us you know I think of it toy raid a lot of talk radio who else has been talk radio on the sound remember well there’s Joe Agnew of course the joy my show is a Friday morning on Hanukkah oh I definitely should plug Jill show oh yeah I think that’s every Friday at 8 o’clock I think and Macau is mostly music there’s some talk stuff other stations that are doing talk we are the talk station we hope to be the voice of Maui but that takes you we even have a call-in number I should tell you right

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now and we’ll put it on the screen eight oh eight eight seven three three four three five sometimes we have subjects and people call in with comments and questions and if you have anything you’d like to know about movies we are here with the I want to say the answer man but well let’s see let’s see meanwhile I have to be able to hear it so there’s a phone call and I feel it’s very funny I’m like Ray Charles driving I keep thinking I’m gonna have to start doing music because I can’t see I can

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hear but I can still sing so my career path is taking and instead of focusing here and now this our sponsor is the Maui Arts and Music Association yes but and so if you should check that out because it’s amazing to me that there are so many wonderful people on this island that the world needs to know and there are so many different pieces that look like everything separate but we’re on an island and we shine and could shine to the world and show all aspects including ourselves sustainability are

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incredibly rich people we had Brian here he’s talking about Maui youth you say male youth in Maui theatre yeah so we have great groups on this island we speak about some of our directors and producers here like their gods when we take David Johnston at Maui Academy Performing Arts you know are we talking about why shouldn’t Sally Sefton we talk about Frances tower I mean yeah there’s there’s a lot of and older ones like the Sula yes yes have been major influence and centers yes keep the flame alive for

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art and music you know we talked about Maui being a rich place and you’re wondering where you can go and talk about films again another thing I see that’s been drying up is they’d rather have a few more tables than bring in live music we’ve really seen a less music around and available less Hawaiian music and cultural either so we hope to be able to enrich it and through the brand be able to bring and tie all these things together so that the world when they come here will come and look for

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the the mama symbols on all kinds of different things going on all kinds of different groups and organizations and let the world see who and what we are I’m very proud of being I’ve been on Maui since 1988 how old are you 42 42 so in 1988 you were I was 11 but I actually moved to Maui the year before 1987 so here we are for the last 30 years 31 years Maui has been home and you know they say we could go right or we could go wrong well a lot of people say we’ve gone left instead of right and that’s how I ran

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politics and do all kinds of stuff we are in a new age and it was only a dream at some point about film in Hawaii and here I think about what you’ve done in your class with us do you know that we’re in a little segment now we just got to see a movie called Stoke and we got to see a a writer and director and got close up and personal the guy that’s running our department Brian Cohen did get a job which was a very wonderful local movie you haven’t seen it get a job and there’s another movie

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we’ve be called kuleana we’re gonna see that on Wednesday this week we are getting shown local movies there’s a gentleman remember that Destin what’s destin cretton yes now he’s a story and a half here’s a local story of a guy that put the I’ll let Barry tell us I love Destin I had the really the privilege to interview him about five whatever was five six years ago he did a film called short term 12 it was his big film debut and it starred brie Larson who is now currently

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playing Captain Marvel and it’s a personal film from his experience from his life and it’s a hard film to explain I just want to say see it’s just see it it’s wonderful and it was his it was his first movie and we weren’t really sure if anything would come of that if it was the beginning of something we really weren’t sure the direction he was taking a couple years later he comes out with this film called the glass castle with with Woody Harrelson and brie Larson and Naomi Watson it’s it’s a devastating

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film and it really impacts everyone to know who’s seen that film has a very strong opinion on it and then of course now his third movie into his into his film career he’s now directing a Marvel movie listen to that multi-million dollar I guess brie Larson had a little to do with it maybe he said hey what about this guy we’ve done two movies together and he’s terrific I wouldn’t be surprised like Wes yeah yeah that might have something to do with it but yeah it’s it’s it’s a it’s amazing and but

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he’s got the goods he’s got the talent it’s from haiku for pete’s sake yeah so now with that as sort of like an arrow out with us I don’t want to say ahead of us but let’s say that we have in our quiver successful people teaching us and being inspiration right now for all of you out there who’d like to learn and create a clean industry here imagine our exportable technology instead of just having movies that show vacations in Hawaii that’s another thing we learned

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tell us about that it’s something we spoke about in class and I’m very passionate about this and I had the opportunity to actually do a kind of a miniature version of this class in Colorado and it was interesting that even mainlander students were very receptive to this just the question of how many movies can you think of that actually have a local Hawaiian perspective that are about local culture that take place in Hawaii in its modern day and it’s it’s from the perspective of people who live there and what

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they’re going through and it talks about multiculturalism it talks about the mixed plate culture out here you don’t ever see that it typically if it’s a movie about Hawaii it’s typically from the point of view of a Caucasian outsider and you always see it through their point of view and it’s not that that story is invalid and that story doesn’t have merit it’s limited and almost all those movies are limited and too many of those films have that perspective and it’s really

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unfortunate because there’s to say the least to speak to the choir there is such a wealth of history of stories of narratives of of complexity out here that has never really been attempted you have rare independent films you have Brian Cohen’s movie colleano which i think is a great example there is a lovely lovely filmmaker who’s no longer with this name Caio hata she made a film in 1995 called picture bride we’ll be watching that soon in my class picture bride is the first film from Hawaii to

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ever play at the Conn Film Festival it’s absolutely fantastic and it has a local perspective it has pidgin English in it and it is about you know the wonderful mixture of cultures and people living on this island and in the in the complexity of that that structure most movies don’t talk about that you you there have been films made in the last 20 years made on this island that actually does portray the image that if you come to Hawaii we’re all living in huts by the beach we’re all surfers you know we’re you

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know we’re all eating pineapple and we’re just like living this blissful fantasy life like it looks like you know it looks like an Elvis movie and I love Elvis movies fine but that’s you know blue Hawaii it wasn’t reality then it’s not reality now so I love that independent film is slowly but surely capturing some truth because there’s been a lack of truth about movies that have been made here that are about here too many movies come out here they use Maui or Hawaii or Big

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Island or wherever as a backdrop and you never get any sense of who are these people what does it really like to be here what does it really mean to be Hawaiian and what does it really mean to be a part of this mix play culture what does that even mean most movies don’t even attempt that Brian’s film kuleana does that I feel Stoke from the Big Island really captured an aspect of that yeah and as I said the movie picture bride which I for me is for me that’s the gold standard of all films that have

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been shot here that movie has a sense of history and has a sense of identity that too many other films have lacked but you know it for me it’s also this ridiculous thing it’s like Hawaii has such a rich love of the Arts we should have our own voice and identity as filmmakers certainly I want to see more of that I want to see the Hawaiian speech Steven spielberger I want to see the Hawaiian Christopher Nolan why can’t we have that and I love that you know now we have destin cretton who is very much creating

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a name for himself he hasn’t made it right now he has not made a movie about Hawaii and that’s okay because apparently that’s coming or at least he has indicated to me that he wants to make that film but for now he’s going to make this 200 million dollar Marvel movie and I wish him all the Marvel movie but he’s the guy he’s the guy to do it and he’s a great filmmaker so yeah I wish him what a wonderful thing for him yes thanks Dan that’s great and see you could be the next destin cretton and

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not only that we have an amazing outlet here you know we we’re not like I don’t want to knock Kansas but we’re not Kansas anymore Dorothy we’re in Maui and here we have such a where the focus we’re like of the jewel of the Pacific with a most remote landmass with a bridge between the East and the West we can showcase it all here and be a self sustainability model with clean exportable vision from Hawaii of Hawaii and how Pillai and Hawaiians re-establish their cultures international presence and really give

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Hawaii I think a shot in the arm you know I think it really needs you’re right at the center of it your inspiration in class has just been I I watch the faces of these young people I say you know I’m I’m three times as old as they more God well but they’re as they’re listening to you you know I can’t imagine I writing down so many names of titles I don’t know how I can watch the amount of incredible things that you point out you really have been just a fountain of information thank you

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and I think that anyone out there that really loves film will find this class and this program but this class really rewarding you have stuff coming up I want to know what to take in the fall what thank you yeah I’ll plug my upcoming classes next semester doing this class again although it’ll be modified this is you know this is the beta test version of this class so it’ll be a little different some of the selections would be different some of the emphasis will be different but it will be world cinema as you’ve known

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dealing with films from all over the globe establishing the the different directors and different filmmakers who have added to the language of cinema and then of course dealing in the last half of the class dealing specifically but locally made movies and what local filmmakers have to say as filmmakers and as artists so I’ll be doing that class I’ll be doing a class very ambitious class called the history of mass media which deals with the history of television news print movies internets

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and it’s like I’m missing something else there yeah but it’s basically about mass media from the 20th century to now how they all kind of interweave the relationship between media and television and film and and whatnot so that’s that’ll be an interesting class and then a year from now the class I’m probably the most excited to teach because I’ve never had the privilege of doing this kind of class and I’ve always wanted to I’m doing a class on horror films whoa that’ll be a year from now and I

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can’t wait to do it yeah as you know how I feel about also I’m really excited about that it is so interesting to see them in a generation of people that horror films when I grew up and when we saw the killer John Woo and all these things things that were so outrageous in the Wild Bunch I remember when yeah that’s the ratings on films because of this film that took so much blood this stuff is tamed yeah and to what’s going on now so that’s a really is I’m sure that’s going to be an ambitious and

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interesting visual experience yeah yeah but I promise it will not be just an assault on the senses I did teach at night excuse me I didn’t teach I took a class on horror films once and it was you know the Exorcist it was a lot of it was a lot of movies that most people don’t kind of just sit and comfortably watch and enjoy so I have chosen I’m you know working on the syllabus is respeaker but I’ve been cobbling together some of the some of the films I’m gonna be using and a lot of them are

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just they’re just great films it’s not gonna just be you know people getting their heads cut off like there’s there’s a lot to speak about with or certainly with its history how it reflects history then and now and there’s an interesting study recently actually it was within it was last year it came out this study that women particularly are a huge huge member of the horror movie going audience because horror films have been scientifically known to be films that feel cathartic for women women see the

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films they want to scream they want to be on the edge of their seat they want to be you know so full of the tension that the film provides and then they walk out of the film thinking it’s like it’s a cathartic experience and apparently more so than men who tend to go to these movies you know for you know just to speak generally they tend to go for just the you know the sensation the thrill you know the the exploitation of it whatever but women in many cases have been known to go to horror films and and

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it’s like it’s it’s an experience it’s like getting off of a roller coaster well what a different societal thing I mean when we look at the real news and then we see horror films I mean like you know I’m I’m an older I’m older than you guys I’m thinking you know how does that does that move over into real life I think that’s an interesting question especially now because a lot of you know certainly a lot of the young people in the class a year and a lot of young

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people encounter you know 9/11 was something that happened to them when they were children they they either vaguely remember it or they don’t remember it at all but America after 9/11 not to get really dark here but the point I’m trying to make is it’s hard to scare people now because of all the stuff that’s on the internet because of all the things that we’ve seen because of all the things in real life it’s similar to little before I was born but you know in the 70s America after

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Vietnam after Watergate after Charles Manson you know they get to that that this media thing you know I mean like now you can see it up close in color until they pull it off the net you know that was somebody get getting killed in front of you rights you know they behead someone and things and well the world has gone so I mean it’s a blurry lines and I think I brought it up in class even just a horrible I’m very interested to understand the medium but also as it reflect in our society and what to do to

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get people in I guess the visioning is is there what’s the opposite is there such a thing as an opposite of horror film comedies comedies probably idea although you know I think the to kind of fit together horror comedy is a genre and I find that they’d actually fit well together the because when you’re watching horror movies often there’s nervous laughter so there is that the the two emotions seem so you know versus going oh but the two actually very close together because when you’re doing one

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you really do want to do the other and there are there are examples for example one of the great ones is called an American Met excuse me an American Werewolf in London came out in 1981 it’s one of the great horror comedies because it’s a horror film through and through it’s terrifying but the characters in it are funny the movie isn’t trying to be funny it just has a really hip city I’m thinking of that film I first I got the name Warren Zevon I don’t think he had anything to do with

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that he did not but I saw his reference but also I don’t there was a guy David with dark hair that’s the one you mean right where he he’s in London and he’s bitten and the whole thing yes that’s the one so I had a satiric and it had a comedic style it was one of those I remember that’s yep it was a scary movie to me it’s a terrifying film but it’s also really funny because the characters are either they’re hip they’re very self-aware they’ve seen werewolf movies

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so they’re you know and the film was very ahead of its time in that respect because it it wasn’t trying to hold the audience hand it wasn’t winking as the audience it was simply presenting this this scenario completely straight face but the characters are so funny that the movie inevitably is so funny that you can’t imagine I can’t imagine the world without sarakin werewolf in london this great film and a couple years later you had ghostbusters and you’ve had you know men

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in black like a lot of movies with very similar attitudes where it’s a genre film but because the characters themselves are funny that the comedy comes naturally as opposed to something that really tries to be haha funny who directed Ghostbusters when I think of that I think of Harold Ramis no I think of as a director he’s director well thank you for bring up Harold Ramis so he did him but he’s I mean he’s in the film it’s Ivan Reitman who’s a Canadian film and yeah Harold Ramis of course

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helped write it and he course he’s in it he plays Egon yeah I remember the director John Landis interesting yeah John Landis absolutely that’s the same it’s funny you mention it yeah it’s John Landis famously directed a segment a very infamous segment of Twilight Zone the movie which came out in 83 and John Landis was coming off of the success of The Blues Brothers which he directed as well as Animal House and American Wharf in London when they made Twilight Zone the movie in 83 the idea was to get the

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biggest names in Hollywood to direct so they got John Landis Steven Spielberg directed a portion of it and George Miller and Joe Dante and of course as you may remember there was a helicopter accident accident yeah again not to go all dark but there was a helicopter accident that famously took the life of Mauro Vic Morrow and two children when a Chennai television show see back in the old days when there wasn’t as much media or access to media children if you will the world you have to go to the film and

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go to the TV and there was just a few stations we are so flooded now I’m amazed that you have you are just a such a wealth can you see why I’m in class I’m so fascinated there was a midterm and I got a few wrong and got some extra credit but I I just remember cuz he just so many fun things to learn I mean if I wasn’t a fan of movies after going to your class I would be oh thank you thank you and you’ve really opened the you know a window to international films um what do you think is going on in

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world now and international but I’m thinking about international I knew things going on it’s interesting because there you know right now you do have this mode of over I love this question of where do you film stand because Netflix has really drawn kind of a line in the sand for a lot of people because on the one hand I mean this is a this is a very it’s a very rich topic and I feel like it’s it’s not going away because Netflix is this out of control animal it is so monstrously successful the Khan

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Film Festival is the is the most prestigious Film Festival in the world of a film premieres that con it’s gonna be notice it’s probably gonna be marketed and it’s probably going to be seen by millions of people movies like pulp fiction for example and premiered there so the con Film Festival a couple years ago basically said no we are never we are never allowing a Netflix film to come here again it’s never gonna happen because we have a rule movies have to play in theaters for at least a certain

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amount of months before they can be streamed on on these you know streaming channels and Netflix is like well you know we’re we’re gonna have a movie play at a film festival and then a month later it’ll be available for everyone so it’s it’s an interesting thing because Netflix on the other hand excuse me on the one hand is really providing a service for movie lovers because you know you could either seed in theaters and then either at the same time or a few days later you’ll get to see it at

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home so it is kind of cutting off that need to drive to that obscure art house or just just you know go to that obscure screening or whatever but on the other hand it really is slitting the throat of the movie experience because the movie experience is very valuable especially with art movies you need or two mouths you need to have those conversations in the hallway afterwards that is so essential for art movies to exist because you know movies you know and I and I don’t mean to sound like I don’t

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like mainstream popular movies I do but movies like Captain Marvel they don’t need us they don’t need me they don’t need anybody those movies they exist all by themselves they don’t need critics they really need people to shell out the money and you know they they did you find regardless because they are franchise movies they’ve got so much working for them so many things working for them but when it comes to art house movies you need everything you need word of mouth especially word of mouth you

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people to go back again and again and with Netflix yes the movies become available to people but I mean how many movies can you think of on Netflix that have never been watched that are just kind of floating out there and stream world waiting for someone to discover that will never be seen because there’s so many more mainstream choices so now to answer your question directly internationally movies are dealing with this dichotomy of like do we go the Netflix route or do we struggle and hope

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that our movie is gonna be found so it’s an interesting thing because Netflix on the one hand is like the Big Brother going don’t worry I’ll take care of you but you know as we know big brothers can be stupid and annoying and and you know and being a big brother I can say that on the other hand there is an old model to making movies where you make a film you you get a distributor and with little movies certainly arthouse films and international movies you know you’re really hoping that those movies are

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gonna be found and gonna be seen and it’s a crapshoot you never know you never know if your movie is gonna be something that’s that’s in theaters for a week and it’s gone or if it becomes the next my big fat greek wedding which which was a blockbuster that came out of nowhere so you just never know and Netflix there is more of a guarantee your film is gonna be seen but then you know it’s gonna be seen on Netflix and probably not at all anywhere else last year all in this die tried this was last

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year Orson Welles the last film he ever made was finally finished after 40 years pretty amazing he others finished it for him but it was according to his wishes and it’s pretty much I’d say about 90% to what he wanted the film is called the other side of the wind it’s on Netflix it stars John Huston and Peter Bogdanovich I think it’s a great film it’s not perfect but it’s pretty terrific other side of the win the other side of the wins alright it’s great yeah it’s the last it’s it’s

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it’s yeah it’s definitely something to talk about but it’s the last Orson Welles film most film fans saw it on Netflix the film played in theaters for about a week in some theaters and I think it’s pretty safe to say that if you’ve seen that movie you know if there’s 10 of you’ve seen that movie 9 if you saw it on Netflix maybe one person saw in a theater so you are losing something there well you know I can hardly imagine and you can hardly imagine a whole hours gone by very much

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they’re weird like we have a – I’ll put my glasses on to see how many 55 we have two minutes sorry worse it has been a wonderful gasps thank you it’s clear you have your own show but you’re overflowing where you have an open door hair you are welcome thank you thank you I’ll take you up on all time thank you you’ve been a great inspiration in the film world thank you out there you should be checking out University of Hawaii Maui college creative media department very Wurst and when you open up Maui time

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you’ll see Barry were thank you for the plug yes we’ve got 30 seconds and those wait it might be a minute 30 great Charles is putting on his glasses he doesn’t new glasses I see 120 – no I think we had a minute there’s a left and all right can you imagine I’m trying to edit very hard that’s why I need all you guys to be learning this stuff and be my eyes and my ears I’m just gonna go back to singing here bear anything boy it’s very funny but you know that I can do I can

56:17

close my eyes and sing so let’s do you have a closeout song that you end of the show on earth we have a little 15-second closing and opening credit music that I styled after one of these TV series of years ago because I think that we want to be playing it here and then go to a broader audience and attract the mainland anyway to be continued you have been a wonderful guest on thank you now thank was a pleasure thank you for having me yeah thank you guys for joining us this is kak you 88.5 FM the

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voice of Maui you can find us online Maui neutral zone calm on YouTube kak you on Facebook we got it all we are so happy to be here with you we will see you next week Aloha [Music] of course it was fun thank you the neutral zone with me Jason Schwartz would like to thank Maui Arts and Music Association three makers Foundation of Maui for their support since 1991