Rock, Ben (Alien Raiders)
Who is Ben Rock? While the name may not immediately spring to mind, I’m sure you’re well acquainted with his work dating back all the way to The Blair Witch Project. Ben not only created the iconic stick-man, he also directed the two stellar documentaries, Shadows of the Blair Witch and The Burkitsville Seven.
Now all these years later he’s back behind the camera to give horror fans something new to scream about — Alien Raiders, and allow me to say right now, you guys are in for a treat!
Recently Ben and I sat down to talk about the movie and all things horror! He’s truly One of us! One of us!
Click below to listen in, and don’t forget to VOTE FOR US ON PODCAST ALLEY!
NEW! Don’t feel like downloading? Scroll down to read the entire interview transcribed!
Uncle Creepy: Everybody I’m Uncle Creepy here for Dread Central and joining us today is the director of “>Alien Raiders, Ben Rock. Ben, how are you brother?
Ben Rock: I have never been better, okay, I was better once but, you know…
UC: [laughter] so, dude, Alien Raiders, let me just say I watched it last night, what a kick-ass little movie.
BR: Oh, thanks.
UC: Yeah, man. I mean of all the Raw Feed movies, I’ve been a fan of some of them like Otis. I really dug Otis. But, I definitely think Alien Raiders is one of the most fun man, I mean we need more monster movies, dude. It’s good to see one finally.
BR: I mean that’s one that I really going for. I just wanted to make a kind of movie that I wanted to see and you know, those are movies, well, a lot of the same kind of movies that you grew up on I grew up on and stuff like the things. And you know, in any way that I could I wanted to try and try and be in that school, you know what I mean?
UC: One of the things that was really cool about was that it reminded me a lot of The Thing. It reminded me, like the cross between the things, a couple of movies — a little about movie Splinter from Toby Wilkins. I don’t know if you saw that, thrown in?
BR: I haven’t seen it yet man. People keep telling me I have to see it though. I’ll definitely check it out.
UC: It’s good stuff. It was a really cool atmosphere thing. You know what I love movies that take place in one night. You know what I mean? Just something about them; there’s no time to be bored because the shit automatically hits the fan.
BR: Well, I also think, I am not a big fan of lengthy exposition. And I feel like when you are in a situation like that, you can err on the side of not having people explain everything for you. I mean like we understood what was going on. It’s not, you know, an excuse for not having the full story. We have the full story, but how much of the story does anyone say out loud in the movie where there is no time for exposition. There’s only really time for action. And you know, I am — well, obviously I am a big fan of TV show ”24”, you know. But — I like that too, I like that kind of the potboiler kind of an effect…
UC: I’d never guess that considering one of your casting choices.
BR: Oh god, yeah. When I got brought on to do the film, you know, you always have to start like with the casting director. And you have to start making up lists of who you want. And Carlos [Bernard] was literally on the first list that I sent out. You know, to me, he was always perfect for that role. He knows how to handle a gun. You could believe that he’s the scientist and you could believe that he would do a horrible thing and that he would regret it and still do another horrible thing. He’s still intense. He’s really good at that kind of intensity. It is no wonder that he’s doing what he’s doing. I am loving him on the new season of “24”. Jesus Christ.
UC: Yeah, dude. I mean I guess Alien Raiders would be a good reprieve for him to have not have Kiefer yelling at him through his teeth every three seconds. Because lord knows he has doing a lot of that in the new season of “24”.
BR: Yeah, quite a bit. Well, actually like we shot during the writers’ guild strike last year was — December 2007. And the last day that they were shooting on what is now the season of “24” was our first day. So, thanks to the writers’ guild for going on strike, we were able to get Carlos.
UC: You got to dig on that, dude. Now,the movie was originally called Supermarket, right?
BR: Yeah, yeah.
UC: Now, why was — what’s the deal with the title change?
BR: The title change is definitely a Warner Bros. question. When I was brought on it was called Supermarket, and I knew that was a kind of ill-fated title, even though I like it a lot actually. But, because like I was making Alien Raiders right after they finished Rest Stop 2, so I knew there’s the possibility out there that if it did well, that they would want to do a sequel. So, they called it Supermarket, what will be the ads that’s Supermarket will take place in the supermarket, you know, be kind of contrived.
UC: Right…
BR: So, I knew that was ill-fated. For a long time it was Inhuman, which I love. I thought that was a good title. And you know, Warner ultimately decided to do this, you know, it was definitely their call. I have to say they were really cool with me. I guess any of our casting choices, any of our script changes. You know, they watched the dailies, they were involved but they kind of let me make the movie that I wanted to make. If the title is the big concession that I have to make then that’s not a big deal for me, you know?
UC: Well, you know, what’s cool about the movie, and it’s something I really dug because it doesn’t happen often. It started and I am watching and I am digging on the proceedings. But, what I really liked about it is you had no idea what the fuck was going on, other that something urgent was going down, you know what I mean?
BR: Yeah.
UC: And I love that. I do a lot of complaining and I’m sure you know that if you’ve ever listened to any of the podcasts.
BR: And I have.
UC: You know, one of my main pet pieves is shaky camp because I think at times it’s over-used and it doesn’t really give you that franatic, you know, feeling that it’s like usually at directors are trying to convey. You know what? You had hand-held camera work in this movie and you got that franatic kind of feeling. But, I could actually see what was going on. So, God bless you for that.
BR: Well, I have to give a lot of credit to our cinematographer Walt Lloyd who’s been around for–I mean he shot while — he’s like the camera operator in the original Hitcher which is probably my favorite of all his credit, obviously. But, he shot like sex, lies and video tape and Short Cut and all those stuff. He is the cinematographer with just an amazing control of his craft. He knows how to give you the exact amount information that you need to see and not give you too much and not to give you too little.
Also, again thanks for the writers’ guild strike; we got most of our camera crew from “Lost”, the TV series. And they do a lot of hand-held and out A camera operator was Bobby Hoffman, actually Robert Hoffman’s son. I think if you watch “Lost”, you’ll see a kind of similar style and it’s because the same guy hold of the camera. But, you know — and we went really shaky like when you see the alien, there’s — we literally attached the motor to the camera t shake it. To really, to really shake it. Walt — I can’t say enough great things about Walt. He just really had amazing control over what he does. He leaves very little to chance, you know, and he makes sure that you have got it in the can before you move on, you know what I’m saying?
UC: Totally. And again, not one point of the movie was I disoriented.
BR: Oh, cool.
UC: And because that shit, like fucking 30 Days of Night, dude. I wanted to love that movie, you know what I mean? You have this kick-ass vampires and the weather, doing your special effects and every time the vampires do anything they shake the camera like it is a fucking epileptic fit, and it drives me crazy.
BR: Oh, you know, I mean and there’s the utility to it, because shaking the camera gives you — you know, it can make it more scary, it can obscure the monster. But, also like everything else it falls into cliché after a while. You have to, as one of my writing teachers once said, avoid the cliché like the plauge.
UC: Totally. Now in terms of the alien, because obviously people know it’s an alien, I guess because it’s not really a spoiler, given the title. But, what was the general idea for the monster, was it always something that would be kind of like The Hidden, and inside or…?
BR: Well, I mean The Hidden definitely is a huge inspiration but like when I was brought on, there were two versions of the script. Basically, when I was brought on David Simpkins who had been writing it up at that point of life that has just given birth to twins. He kind of couldn’t work on it anymore, so Julia Fair was brought on to do the rewrite literally, the day after I was brought on to direct it. And she and I sat down and kind of talked morphology. I knew, we knew two things basically; one, Dan Merrick, my executive producer, basically did not want a dude in a big rubber alien running around looking goofy. I personally didn’t want do a CGI creature because, to me, that would look goofier than the goofiest alien that could be ever made.
UC: Wait. Hold a second. Let me hold on to that for a second. You didn’t want to do a goofy CGI creature. Thank you. Okay, go ahead, continue. I just, when I hear things like that I just want to hold to them for an extra second or two. Go ahead now….
BR: And you can let that haunt me later in life when I do a CGI goofy creature.
UC: I am not going to let you Ben. I refuse to let you.
BR: If you ever knew that I’m doing one you can like come and just pull out the hard drive.
UC: I’m- — I’ll be there.
BR: I mean, you know — you kind of like escape from CGI. I mean obviously we have a little bit of CGI, but we tried to do it in a minimal ways possible,using it for things like removing wires, adding sparks filled in the sky, stuff like that. There’s like two or three moments that we probably could have done on our budget what we did without using CGI. But, I tried to do it as minimal as possible, you know. I used to be a special effects make-up artist, so I have an enormous love for the craft. To me kind of following that guideline of no goofy rubber aliens suit and no CGI, like the original version David have written. It was kind of like we where the alien was kind of like wearing human masks. You know, I thought it was cool but I have seen it before.
But, Julia and I came up with an idea, actually I was inspired by their… this may be too much information but I’ll tell you anyway. There’s a barnacle that invades a certain breed of green crab. And it takes over the crab, and it walks like a crab and talks like a crab. It’s neutered so it can’t be reproduce, it still eats and everything. Then it dies and its shell splits up and a bunch of these barnacles flowed out. I had the idea of what if it was something like that, what if it was something that kind of burrowed into you and kind of took you over and you still kind of looked like you, and talked like you, and walked like you but you weren’t you anymore. I like the idea also like the next question is well how is, it a monster? So, we came up with the idea that when it is threatened, it is like a puffer fish inside your body, and it just ruptures. It just explodes and it shoots you up with like, you know, hormones and adrenalin and whatever, you know, imagine like steroids that work almost instantaneously. It can literally take you back from the dead and just give you super strength. It doesn’t make you immortal or anything like that, but it makes you fairly impervious for a while and that way you can get away and infect somebody else.
I like that idea. You know, just- — Sorry, go ahead.
UC: That crab thing is the most heinous thing I have heard in my life.
BR: Look it up man, its creepiest shit.
UC: That is the most — that’s the movie right there. Because what happens if somebody eats one of those fucking crabs…
BR: I don’t think people eat green crabs, but they are really, really small, but…
UC: What if like somebody — alright, it’s like a crab McNugget. [laughter]. Like fuck I’ll eat that thing. Now, seriously that is just an insane idea, man. This is why I don’t need shellfish when shit like that happens. Ohh fuck. That’s a great premise for your creature.
BR: Yeah. You know, honestly I read that probably 10 years ago and I’ve been carrying it around in my. There’s a magazine that I recall The Freudian Times, the Journal of the Weird Phenomena, that’s full of shit like that. I read it every month and I love it because you know, I have — I’ll pick up an idea like that and you know, one day I’ll be able to apply it in some weird way. I mean it was all in aid of figuring out a way to make this thing be a special effects make-up application. So, really an actor was doing the monster and that, you know, not a stuntman, in a suit and god forbid a guy in a cubicle somewhere.
UC: Amen, man. Really, really good, creepy stuff. Now, “24” fans are totally going to be pleased. But, I think “Six Feet Under” fans are going to be just as happy as Matthew St. Patrick’s around. It is so good seeing him out again, man. I don’t think I have seen him in anything since “Six Feet Under”.
BR: He has done a couple of things, but yeah, I mean I think this is one of the first big things he has done since — it shouldn’t be called big thing, but yeah.
UC: Like when him and Carlos had their first eye-to-eye scene, I was like this is — I am in like geek heaven.
BR: I know. Well and you know for me a third TV show that I am huge fan of is “Prison Break”, especially the first season. And getting Rockman Dunbar involved was, you know, honestly one of the most experience g guy who play Cain. Honestly, it was like “Six Feet Under”, “24” and especially the first season of the “Prison Break”, three of my favorite shows for the last 10 years. And I actually — I do some freelance journalism and I actually interviewed Rockman for Backstage West few years ago and because nobody at the backstage who was watching “Prison Break” but me. I remember what a cool guy he was and when the casting director Jack Johnson brought him up I was like, fuck yeah man. I would love to, you know, to get an opportunity to work with him, but it was still nice and you know, I can see him playing the character that austesibly the bad guy. But not making him sound like the central casting evil mean guy who enjoys hurting people bad guy, just the pragmatist who has to say the uncomfortable truth that no one else wants to say, you know what I mean.
UC: Not totally. Yeah, good casting choices man and great performances too. It’s one of the few movies that I’ve seen where nobody in the movie got on my nerves. You know, because there’s always that’s fuck-up in the movie that you just like it’s either their performance or their something like please just dispose this character immediately. But, everybody in the movie, I mean it was just a lot of fun man. And the score was minimalist and incredible. I love that. I love that it plays at Christmas time and all that all mayham going on all these Christmas carols playing over the stores Lound. There’s just a lot of really good stuff about it, man.
BR: Oh, cool. Thanks. Yeah, I especially hate Christmas music and so my — I thought if I can at least — I can disturb — if I can put the image of people dying in somebody’s head when they hear “Jingle Bells”. Just one person, I have done my job, you know?
UC: Oh, god bless your black little heart. Now, you are no stranger to the horror genere too man you were involved a lot with a lot of Blair Witch stuff.
BR: Oh, yeah.
UC: And I just first of all I want to say that the “Burkitsville 7” and the “Shadows of the Blair Witch” were really kick-ass. I think I liked, I mean I love The Blair Witch Project, fuck everyone who’s like saying that movie sucks because it’s like in vogue to hate that movie now for some reason.
BR: Hype kills everything good, you know?
UC: I know. But, you know one of the things I loved about the Blair Witch was just the back story stuff, the mythology itself was almost 10 times more interesting than the movie and I don’t think you could really appreciate the movie till you see all the back stage stuff and the behind-the-scenes stuff and just the back story, you know?
BR: Yeah. Well and “Burkitsville 7” has a special place in my heart in a lot of ways. It was the first thing I ever get hired to direct and I hadn’t been in LA that long so I was really excited and scared shitless that I was about to destroy my career, you know, whatever. But Artisan had green lighted this weird fucking idea that I pitched to them they wanted a special for show time that didn’t talk about the first Blair Witch at all and didn’t reveal anything about the sequel and so, I pitched in this weird idea and I showed them — I showed them the Fredrick Wiseman documentary Titiecut Follies. I don’t know if you ever seen that.
UC: I have heard of it but I haven seen it.
BR: I’m sure I havent seen as many horror movies as you have but I have seen a fuck load, the Titicut Follies to this day remains the most-disturbing film I have ever seen.
UC: Really?
BR: It’s just a documentary in an institution for the mentally or the criminal insane in Massachusetts in the late — in the early 60’s. “Burkitsvilled 7” kind of documentary within a documentary where you see Kyle Brodie and his celluloid stuff like, you know — But, we didn’t pull, with the exception of the nose feeding which is the most famous theme from Titicut Follies and what we did in no way is nearly disturbing as what they did. You know, we just — got made to put it like it could have been it Titicut Ffollies and that actor Davived Gramer, who played Kyle Brodie just went there. He was a force of nature. He’s an amazing actor.
UC: Yeah. He was all over the place and that thing dude. He was a scary dude.
BR: Yeah. I was scared being in the room shooting that stuff with him. I mean he was — I wouldn’t say he was out of control because he was not an out of control guy. But, he kind of put himself into that place. I come from theater, and so I have a lot of respect and admiration for actors who can do that. You know, when you are working with somebody like David, really your only job is to just gently move them in the direction you need them to go in and protect them for the rest of the crew asking him stupid questions. David, I mean David freaked me out and I do think we’ve — you know, again Artisan was a great company to work with because they were really supportive about that project being as disturbing as possible, you know, and it’s not yet another fake documentary, you know like — who would even think to do that, you know And it’s not a fake documentary in the same vein as the Blair Witch was. It’s not a fake documentary in the same fence as even “Curse of the Blair Witch”.
UC: You know what is going to be kind of cool, like after people listen to this like the VHS sales of that shit is going to go up to the roof.
BR: I hope so, man. I’m really proud of it and you know, also like my good friend who is no longer with us Neil Fredericks who’s the DP on it.
UC: Yeah. He was an amazing talent, man.
BR: Neil was was a phenomenal guy. He was so much fun to work with. He was just starting to shoot, and you know, I am just lucky to have collaborated with him and he shot “Burkitsville 7” and “Shadow of the Blair Witch”. And you know, we were able to shoot those on film, you know, that would never happen today. I mean you would bring up film and everyone would laugh you out of the room but like we shot the whole fucking thing on film.
UC: Good stuff.
BR: Both of them, actually.
UC: And Neil is very much missed. He is the talent that was taken from us way, way too soon.
BR: Yeah, yeah. I mean it bums me out and you know, we still talk about him a lot and I mean my wife and I had dinner with him like right before he left us, shooted last film, I don’t know what with everybody else, but yeah…
UC: Yeah. Let’s bring up the tempo just a little bit.
BR: Honestly, it’s great to work with him. And you know, people should see his work, you know what I mean?
UC: Now absolutely because he did — I mean so many — in a short career he turned out a lot of really good stuff and one’s we’re talking about right now are definitely evidence of that, for those that haven’t seen “The Burkitsville7” and “The Shadows of the Blair Witch”, I highly recommended it. It’s really good stuff.
BR: Also, he was probably my biggest horror nerd buddy in LA. He’d call me up and he’ll be like, hey dude “you want to go see Ed Gein, hey dude you want to go see Dahmer. You know, it’s like nobody else — nobody else would have ever called me up to see if I wanted to go see Ed Gein and of course I did, you know.
UC: No, totally. You know horror — it’s just when you have friends that are into it, there’s a certain amount of camaraderie that goes with that you just love. Because you don’t feel like Mr. Sicko or who wants to see Dahmer, you’re just all right let’s go out and have some fun, you know? And that’s good stuff. It’s cool that your first directorial thing was actually in horror genre, with “The Burkitsville 7” and “Shadow of the Blair Witch”, am I correct?
BR: Oh, yeah.
UC: And now you are continue it with Alien Raiders. So, apparently you are well equipped for this genre. I am wondering if you have anything else coming up?
BR: Well, actually I am working right now with the Ed Sanchez, Rob Cowry and Greg Hill and the writer names Mart Patt and I don’t know if you know Mark.
UC: I know Mark.
BR: Okay. It is the script called World Famous. I’ve been developing that with those guys for probably about three or four months right now. Actually Mark sent me the draft today. I think we’re getting pretty close to the draft that they wanted to go out with. They are really happy with the direction we are taking in. Basically, a mistaken identity serial killer movie, in a sense the parallel of the Alien Raiders, it doesn’t take place in real time but it takes basically over the course of a day. It’s not a whole a lot of time to sit around and talk about what is going on, you know, there’s a lot of action. There’s a lot of suspense. And some really kickass set pieces hopefully!
We’ve have been working on it for few months. So, there’s that I’ve been also working with a writer named Bob De Rosa, I don’t know if you know Bob?
UC: I don’t know Bob
BR: Well, my wife and I developed a script with him called Oblivion that’s kind of mind-fucking thriller. It’s not a supernatural thriller, it’s a metaphysical thriller is what I would call it.
UC: As long as not a psychological thriller with supernatural overtones…
BR: No.
UC: [laughter] I hate those motherfuckers that say shit like that. It drives me crazy. Like dude you are making a horror movie, admit it.
BR: I get into arguments with people like I was talking to somebody recently who was telling me that Silence of the Lambs is not a horror movie. And I am like just because it won best picture, does not mean it is not a horror. I said dude making a suit of the skin’s people, to me, I said that is a horror movie. I mean it has thriller elements and I don’t know…
UC: Some people just don’t realize it. It is like some people think The Birds isn’t a horror movie. Or Jaws is not a horror movie, it’s like what the fuck was wrong with you?
BR: I guess they think and it is unfortunate that to a certain degree, genres stuff kind of gets gettoised for a reason that I will never understand. You know, it is like genre stuff typically sells better than anything else. You know, it is a pretty predictable — I don’t know I shouldn’t pick predictable but it is something that when it is done a certain way tends to make money back pretty predictably and you know, people dig it. And then when it’s done, you know, creatively well, you know, those become our favorite films of our entire life. It’s not just guys like you and me. But you know how many people still quote Silence of the Lambs to this day.
UC: Find me one person the will quote Dr. Zivagho please.
BR: Exactly. Nothing against — I love all kinds of genres but, you know, I just — I don’t agree with kind of that sensibility that is somehow that needs anybody to do it. I think that it’s a genre where you don’t need a much budget to make a movie. You don’t necessarily have to have an all-star cast. In fact, an all-star cast might work against you. Because like when you have a really big star in it, you know they either going to have a big death scene or they’re going to live to the end. But the probably going to live to the end, you know. Samuel Jackson in Deep Blue Sea is probably the only time that I’ve ever seen anybody superb my expectations on something like that. I mean that will not happen other time.
UC: That was so damn funny.
BR: That movie, I mean, it’s yeah, the best moment in many movies.
UC: Yeah, good stuff, good, good stuff.
BR: Well, like you know, give me — it’s always a source of kind of frustration that people — it’s not beneath anybody — there’s, you know, there’s some of the best work ever that has been done in horror movies or science fiction movies or whatever. You know, I am not going to sit here and say you know, well comedies are less adventurous because I am not a big fan of them. It’s like some people want to watch those, some people want to watch horror movies and a good movie no matter what the genre is something we’ll going to want to see. You know, it doesn’t — Silence of the Lambs is probably the perfect example. But also Let the Right One In, you know, I don’t know anyone yet who hasn’t liked that movie.
UC: If only for the swimming pool scene at the end…
BR: Motherfucker that was great. I saw at Fantastic Fest, which is by the way a fucking cool film festival if anyone can go to it. And I had — I didn’t even know what the movie was about when I went to see it for the first 20 minutes, I thought it was going to be about the serial killer next door mentoring the kid.
UC: Right.
BR: I had no idea — I didn’t know, I don’t even what to say what the path was, but you know, in case somebody else is listening who just hasn’t seen it. But the time you get to that end that end shot was a piece of art. It is just beautiful.
UC: Yeah, it is.
BR: It is beautiful and surprising and perfectly executed, you know, on the one hand like I hope the remake works. On the other hand, I hope they don’t try and copy too much of the original in the remake.
UC: I am waiting for them to announce it, the casting of like Dakota Fanning and then I am just going to shoot myself right into the face.
BR: Well, you know, the guy who did the Cloverfield doing it and he might have the right touch. I don’t know. I hope he does. You know, actually at Fantastic Fest there was — they do the fantastic debate where they have a debate thing and the audience decides by applause meter. And it was too close, they made the two sides fight literally and like they box. One of them was about remix and it was Jay Slaughter from Dark Side magazine in the UK and Scott Wineberg from Fear Net. And they were — obviously you can tell a litany of movies that you like, yeah that remake was an abortion why did they do it. And then, you know, Wineberg goes up there and says I have two words for you, The Thing. And of course, like, yeah I can’t argue with that. You can’t cut up the good with out the bad too, you know. I wanted or the bad with out the good. I would take every crappy remake ever made if I can have the thing, you know?
UC: Well, did — I mean for me, the only thing that I hope about remakes is they encourage the person to seek out the original material. And that in case, it’s win — this is fucking can of worms, man for all of the stories.
BR: If the material is approached with respect. I’m big believer in focus groups like I show the script to a lot of people. We show the cuts to a lot of people you know, I want to know how people are going to receive it. But, it’s kind of when you are making a project, when you are making a movie, you kind have to be a kind of benevolent dictatorship where like you take that as counsel and do what you’re going to do. If you focus group everything with an inch of its life and you focus group who the cast is, you focus group where the location, whatever, you end up getting a movie made by a committee. And movies made by committees are the problem, not remakes, you know? I mean a great remake is a great movie and should stand on its own. You know, I mean I do think when I hear the remaking Let the Right One In. I was like, you know, that you got to tread carefully there because Let the Right One In is maybe one of the movies that 10 years from now is considered the masterpiece.
UC: Right.
BR: You know, I would consider it as masterpiece right now, like when somebody want to remake Pan’s Labyrinth I would have a problem with that. It was like it was made right once, you don’t need to remake it righ away. But at the same time if they can go back to the source material and pull something that I didn’t see out of it, I would go and see it with an open mind, maybe.
UC: Well, and I think that’s just one of the many curses that we as horror fans have that we’ll go see anything.
BR: Oh, yeah.
UC: Even if we know that it’s going to suck, we’re still likely to be at cash in hand going to right — please, in the words of Tom Atkins, fucking thrill me, man. Give me something.
BR: Like I wanted to see my wife and I want to see My Bloody Valentine last week, and we were expecting it to suck, we were just expecting it to suck out loud. It looked like in the trailers they were going out their way not to show you any of the movies which is a dead give-away. And we both loved it, you know?
UC: Yeah.
BR: To me it’s like if you wanted to see My Bloody Valentine in 3D, there you got it. It’s not — it’s exactly is what it says it is.
UC: And you know what, Alien Raiders, you look at a movies like that and pick yourself up. It just has to be a fun movie with the title like that. It can’t possibly be something that’s going to be overaught or pretentious. It has to be fun and that was your movie definitely was. And it was a hell of a good time, dude.
BR: Oh, thank you.
UC: It was a hell of good time. And I think we are just about out of time because it seems like you and me could see — we’ll go over this for another three fucking hours but I don’t think anyone’s going to listen.
BR: I can talk about the shit forever. And I mean, you know, it’s one of my — this is one of the — I can assure you the same way, like the running conversations that I have with people a lot, you know. I feel like I haven’t plug the movie enough. That’s it, buy it.
UC: Well, let’s do that now; The release date of Alien Raiders on DVD is — this is your cue.
BR: Is on February the 17th.
UC: Okay. And it’s from Warner Home Video via the good folks at Raw Feed.
BR: It will be available on iTunes and Net Flix, and everywhere that you buy fine motion picture products.
UC: So, do that shit, see it, love it, experience it, geek out for Almeda and a gun and aliens and that’s all you really need to do. Man. Ben, thanks so much for your time, brother.
BR: Thank you too, man!
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