Episode 81 : Andrew Furtado

In this episode, José talks with Andrew Furtado about editing Nightbreed for Clive Barker, Seraphim, Mark Miller and Shout! Factory.  Warning: Interview  contains spoilers!
Stay tuned: after the interview José and Ryan talk about news, and do the drawing for Clive Barker Podcast Presents Fundraiser II. Part 3.

Editing Journal: http://nowstreamingpod.com/2014/10/nightbreed-directors-cut-editing-journal/

Andrew Furtado refers to the new footage given to him for the editing process as MOS. What is MOS? Read about it here:  http://en.wikipedia.org/wiki/MOS_(filmmaking)

Mark Miller and Andrew Furtado unofficial Audio Commentary track for Nightbreed:
https://www.dropbox.com/s/wct3s4vu9d6xawo/MILLER%20AND%20FURTADO%20FEATURE%20COMMENTARY_1-2.aif?dl=0

Site News

1. Jose and Ryan will both be at the premiere we just mentioned be to cover the event and talk to the guest and our fellow Occupy Midian friends and listeners.  We’ll do at least one episode about it.

1. 3rd Fundraiser non-drawing Right Now

Hellbound Heart 20th Anniversary Earthling Publishing Edition Donated by friend of the podcast, Jason Stolarik.  I love this edition.  Do you just have an old paperback?  You’ll love putting this beautiful edition on your shelf.  Thanks again Jason!

Goes to: Bradley Gartz

Hellraiser #5, Boom Studios.  Also donated by Boom Studios.  Thanks again, Jose Meza!

Goes to: Bradley Gartz

Razorline Bundle — Razorline First Cut Preview Issue, Ectokid #1 & #2, Hyperkind #1 & #2, Saint Sinner #1, Hokum and Hex #1.   From my personal collection.  I bought the first couple of each issue when they first came out, out, but since Clive wasn’t writing them directly, I stopped collecting them back in the 90’s.  Also I lived in Japan for a quarter.  I have since bought the entire run on eBay.

Goes to: Kip Jankowski

Razorline Poster : From my personal Collection, a rare promotional Marvel Razorline Poster of the “First Cut” cover.

Goes to: Adam Kruse

web www.clivebarkercast.com
iTunes (Leave a review!), Podomatic, XBOX Music Store, Tune-In Radio, Stitcher, Doubletwist, Blackberry and Pocketcast.
Facebook and Join the Occupy Midian group
Twitter: @BarkerCast | @OccupyMidian
forum: www.clivebarkerfans.com/forum
Theme by Colin Lacativa

Transcript Below

LEITAO: Hi guys, welcome to episode 81 of the Clive Barker podcast @BarkerCast on twitter where we interview Andrew Furtado who was restoration editor of the director’s cut of Nightbreed. He worked in close collaboration with Mark Miller and Clive Barker on this project. He was really fun to talk to in the interview was very informative. The reason why Ryan isn’t in this interview is because it was actually Andrew’s birthday and we had to reschedule the call a little sooner than originally intended, so Ryan wasn’t available at the time. Again, we can’t thank Andrew enough for taking the time out of his own birthday to talk to us. This is it, the director’s cut deluxe package is in my hands as I’m talking to you, it’s a great accomplishment. Check out the links for the show notes at the end of this blog post to find links to Andrew Furtado’s editor journals and also an exclusive music clip featuring Anne Bobby singing “Johnny Get Angry” as well as a commentary track for the director’s cut where Andrew and Mark Miller talk about cutting the film. And now, without further ado, here’s my interview with Andrew Furtado of the Now Streaming podcast.

DANHAUSER: Hey, Ryan Danhauser here interrupting. As I edit this, I do have to add a little bit of ado. Stay tuned. After the interview is over, you’ll hear Jose and I going over the recent Clive Barker news and also doing a Clive Barker presents Fundraiser 2, our third drawing. So for all of those who have contributed, everybody just about his gotten something, so stay tuned.

LEITAO: First of all. Hey, happy birthday. Yeah. So, hope you got good plans for tonight.

FURTADO: I don’t. Uh, I was going to grab dinner and then my friend’s like, wait, when I’m like, I don’t know soon, I guess. And he’s like, let’s do it when I get out of work. I’m like, all right, thanks.

LEITAO: All right.

FURTADO: Yeah, that’s how my friends talk. All my friends talk like they’re taking a shit and it just sounds. How are you? I’m sorry I threw you a curveball, I’m an asshole. I don’t care.

LEITAO: No, that’s fine. It’s fine. We, uh, we have our witty moments at the Clive Barker podcast. I liked the other episode, I was imitating Clive Barker and then I also imitated like Eigermann, which is one of my favorite characters to imitate from Nightbreed.

FURTADO: He’s pretty friggin incredible

LEITAO: Walkin’ around in my fuckin’ cell dead!

FURTADO: Me and Mark, If you listen, I posted a commentary Mark and I did that Shout Factory thought was too goofy and literally the entire commentary, I get it because it’s super goofy, but it’s just Mark and I spent a month and a half in my room editing to the point where both of us were taking our pants off and putting shorts on at the same time because it’s just kind of what we knew would happen. And we have so many inside jokes and Eigermann is host to many of those. Uh, for example, when he’s in the, he’s in the press conference and then the girl’s like ‘cannibalism!’ ‘sounds a lot like that doesn’t sweetheart.’ And then the other guy says something. He goes, ‘what are you talking about?’ And that was like Mark’s thing. Every time I said something, I’m like, do you think we should cut this down a little bit? Do you think? Do you think I can move this over? He goes, ‘what are you talking about?’ I’m like, ‘what are you Talking about?’ And there’s maybe like 10 minutes of that commentary that’s Just “what are you talking about?”.

LEITAO: I’ve heard it. I’ve heard the track, uh, the day I got the movie.

FURTADO: Shit. Thanks man.

LEITAO: I did synchronize it to the movie and heard the whole thing. So that was quite an experience. I’ll tell you.

FURTADO: Was it coherent?

LEITAO: It took a little bit to get coherent, but then you guys got into like cruise mode and you know, it was, it was. Okay.

FURTADO: I haven’t listened to it. I’m too, I’m too self-conscious and plus I don’t have my copy yet.

LEITAO: Oh right. I got both of them because, you know, Because I’m a fan. So Furtado, is that, is that Portuguese or something?

FURTADO: It is, it is Portuguese, I’m full-on Portuguese.

LEITAO: Holy Crap. I’m Portuguese too.

FURTADO: Get Out. I can’t even pretend to pronounce your last name. No one in my family is Portuguese, but for some reason I’m Portuguese. I think that’s, that’s odd.

LEITAO: And you, you spell your name “Fur Taco” in Instagram?

FURTADO: Yeah, absolutely. Because I got a lot of shit when I was a kid for Nelly, Nelly Furtado, and so I always had that made fun of. And then one day I’m like, ‘fuck it, whoever can come up with a better name than Furtado — I’ll change my name on all my social networks’. like I heard it all. I heard Retardo like I did in kindergarten. I heard, I heard Fart Tato. I heard fat Tato. And then someone just said Fur Taco, I’m like, oh, so simple. It’s so elegant. It’s hairy pussy. How good. It is a perfect. It stuck and it became kind of a thing. People know me as a in odd ways.

LEITAO: Well, my name is Leitao, which in Portuguese means piglet, so I’m Joe Piglet.

FURTADO: (Laughs) Joe Piglet.

LEITAO: Yep. That’s me. Welcome to episode 81 of the Clive Barker podcast. We are here tonight with Andrew Furtado, who’s restoration editor for the Nightbreed Director’s Cut.

FURTADO: Hello!

LEITAO: I think they heard you. So, Andrew Furtado, and I’m reading this IMDB mini biography that was written by Andrew Furtado. Andrew Furtado is a comedy director, writer, actor living in Los Angeles. He continues to constantly work with companies such as Ariescope Pictures and Funny Or Die being of sound mind and body. He continues to find himself working with new and interesting people every day and with time can become one of the notable people in comedy in the near future.

FURTADO: Yeah, that didn’t happen. I’ve accepted that. I wrote that in 2009 when I first moved to LA and I was actually working in comedy mainly and I saw that, that love of horror. But, uh, I love wanting to work in comedy and then editing started happening. I ended up engulfing most of my life. I love it. I live it. I’d change that IMDB profile in a heartbeat.

LEITAO: Embrace it. So people listening to this podcast probably will know you more than they know us, but you’re in the “Now Streaming Podcast”.

FURTADO: Oh yeah. My netflix podcast. It is a, it is all about Netflix. So it’s Kinda like the BarkerCast. If Clive Barker was Netflix.

LEITAO: I guess you can. You can do that except every night are going to watch you through Hellraiser Nightbreed or Lord of Illusions.

FURTADO: Oh yeah. It’s a very, very short podcast. Lord of illusions was on Netflix. Candyman is on Netflix. So there’s stuff I could do. I could do a whole barker episode. Fuck it. Let’s do it.

LEITAO: It’s funny that you mentioned that Lord of illusions is on Netflix because they put on Netflix to theatrical, which is an inferior cut, but I’m on the topic of director’s cuts. You put out this editing journal Editors Journal where you described your experience editing the Nightbreed director’s cut with Clive and Mark. So I’m going to put that on the show notes so people can read it because it’s really interesting. How did this happen? How did you meet? Did you, do you know Mark Miller for a long time?

FURTADO: I met mark at a place out in la called the Magic Castle. A very fancy restaurant that is invite only and we were both invited from different people in the same party. Mark, when he got there, was wearing the wrong pants so they didn’t let him in. And so I immediately had to make fun of him when he did get in because the first time I went I wore the wrong pants. The only difference between him and I is that he actually went and bought the pants. I was too broke. I couldn’t buy any fucking pants. So I was jealous that he did that. And when he came in I just gave him shit and instantly him and I just started giving each other shit to the point where his wife was kind of just standing there going, ‘okay, I’m just going to let this happen.’ We became friends after that and then he found out that I edit and I had a documentary coming out at the time called Iron Road Comic that I was working on and he’s a comedy podcast fan. I used to work on a bunch of podcasts  and he listened to a couple of the ones that I worked on. So we’ve talked about that. We had a lot in common and then we made out in the bathroom and that’s about as far as that goes. Last November he invited me to “Beyond Fest” at the Cabal Cut screening. I don’t know if you were at that…

LEITAO: I went to one of the Cabal Cut screenings.

FURTADO: it was at the Egyptian Theater, which is a gorgeous theater. And Clive showed up. So I was really excited. I hadn’t seen it yet. And I heard a lot about it. I’ve seen Nightbreed a bunch, but the Cabal Cut was something that I’d never seen. Oh man, it’s not good. I’m sorry. I’ve gone on record saying that. It’s in the journal I did in a panel. I could not enjoy the Cabal Cut. It was just so long and the best part about that movie is just seeing all the new footage and as an editor I wasn’t thinking like, ‘Oh man, this will be crazy. Look at all this stuff I could edit with,’ because I didn’t even think about it at the time. I didn’t think that was going to be an option. But I was watching and going, God, this is so slow. And even then I was like, ‘Dude, I would just cut this out. Why is this in here? Cut it out, put something else and you could move that over where are we’? I was already like watching it going, oh my God, I want to edit the shit out of this. And then about a week or two after that, Clive released the fact that they are making the director’s cut and they released the information that they found, the original 35 negative. And I texted Mark, I said, what? Who’s doing this? He goes, I don’t know. Some Shout Factory person, some asshole named Andrew Furtado if he wants the job.

LEITAO: I bet that caught you out of left field.

FURTADO: Oh my God. I was stoked. I’m like, are you kidding me? I get to work for someone who’s scared the shit out of me as a kid. The whole time I’m just sitting there going, ‘Oh my God, this is surreal.’ I told my dad, my dad’s like, ‘I love Hellraiser!’ I’m like, ‘Dad, it’s Nightbreed.’ He’s like ‘Oh, I love Nightbreed!’

LEITAO: That’s awesome. So the next day Mark Miller pulled up at your house with like a huge truck and he dumped a bunch of hard drives on your doorstep, right?

FURTADO: Oh my God. I got terabytes and terabytes of footage and he comes the first day with three hard drives. This is before we start. He’s like, here’s three hard drives. Don’t touch it until we start because I want you to watch some of it with me. I’m like, okay, cool. Of course I don’t wait for him and I plugged it in and there’s a maybe 16 hours on the first few drives and it’s all MOS, which means there’s no sound on any of it. And there’s no real order to all the footage that they gave me, it’s just like they found all scraps because I mean it was in a bunker in Ohio. It’s not like it’s going to be like, well-kept and organized like, Oh, here are all the scenes for this here. All the scenes for that. It’s just like all in a rolled up and the balls and put into boxes and they kind of just transferred as they went. And so I spent a solid three days just going through that footage, marking it, organizing it a little bit so I knew at least where to find it. Oh my gosh. At. And I had a copy of the Cabal Cut that I’ve now watched three times just so anything that I saw that matched the footage from the Cabal Cut I put in because I only had audio tracks that were from VHS rips because that’s all the sound that they could find. I spent three days syncing up as much footage as I could and I was still missing a bunch. I was really nervous and then they brought over more hard drives and it had almost all the footage and there’s little things missing here and there. But with the editing I wasn’t too worried because I was constantly telling myself I’m like, you know, it might not make it in anyway. And I was very fortunate that most of it didn’t. We did a couple like clever editing tricks to, to cover up the stuff that we needed.

LEITAO: Do we know who scanned this footage? I mean, did they do any kind of like a digital filtering on it? Did they do any kind of restoration?

FURTADO: I don’t know necessarily as much as the restoration business goes. I was just given crystal clear, thirty-five millimeter rips. It looked stunning. It was full 1080p. Here’s the thing I love about film and film copies and prints is what this is the whole. I get Tarantino and all that shit. Like I’m also kind of a purist as far as that goes. I’m not obsessed. I’m not gonna say ‘Fuck it and it has to be on film!’ but with, with this stuff, if it’s shot on film, it deserves to be seen on film and there’s like this subtle shake for example, you’ll notice it during credit sequences and stuff like that. When you’re reading you’ll see this little movement. It reminds you you’re watching a film, you’re not watching a flick, you’re not watching a movie or watching a film. Something someone took time on there is hours and hours and just watching all these negatives and stuff like back then you had to pay for film and so you put more care into everything you did. You made sure it was right before you said action and roll the camera. And uh, and that was something that just watching the footage, I was blown away. I found myself just watching different takes, seeing what he did differently in each of the take. Sometimes it was just the same thing the timing was off, but other times I couldn’t hear what they were saying, but Lori, for example, her reactions were always so different, and we actually did use a couple things that weren’t what was intended to be used. They were intended to be used. We used them because it just gave them emotion that we were looking for a little bit more of the reactions and stuff like that. For example, in a scene that we deleted (It’s on the bonus features) is the Lori going to the car scene and having this vision of … the nightmare where the dude’s getting his head cut off and put into the…

LEITAO: You’re talking about the scene where Lori establishes the psychic bond with Babette?

FURTADO: Yes! Then they go back to that and it’s just like, it was weird. So, so it just didn’t. I forgot where I’m going with this.

LEITAO: Yeah. Well it was in the Cabal Cut. A lot of fans became really, I would say, stunned when they, when they found out in 2009 that the tapes had been found. And so it took three years until Russell Cherrington came up with the Cabal Cut and he got his hands on the material and he cut it with Jimmy Johnson.

FURTADO: Yeah, it’s definitely really cool seeing all the footage in there now. I watched and talked to other Nightbreed fans and filmmakers about it. Everyone said it’s so cool seeing all this footage and all the new monsters and all this crazy stuff.

LEITAO: Absolutely. You were mentioning that this a scene with Lori where she establishes the psychic bond with Babette was on the deleted scenes. But I missed that one. I didn’t see that one there. There were a few things from the Cabal Cut that I didn’t see in the deleted scenes. But in any case, there was also some edits that you guys did where you fixed a few things in the movie. The one where Eigermann beats up Boone in his cell, right?

FURTADO: Oh yeah. We flipped that. Yeah, it’s very simple. I don’t know why it was flipped the other way because the whole schematics of the scene were wrong. Like they can’t push someone. Right. And then all of a sudden they’re coming in left. But yeah, simple things like that. We tightened up certain things. We cut out Ashberry in that scene because it just, his character came out of nowhere and that, that line definitely didn’t make sense. There was something that was lost that I didn’t have to help establish them earlier as more of an interesting character because I wanted to, I wanted him. Like, that was one of the notes. If you read the journal, that’s one of the notes that mark and I talked about was the fact that Ashberry is so interesting towards the end. He’s super important to the point where he’s like, following Boone in and at this point we didn’t know if he was following him or if he was invited into Midian. We were still trying to figure out how important of a character we wanted to do, and then Clive told us like, he’s, invited in. He’s being brought in.

LEITAO: He’s also a vertical actor, right?

FURTADO: (Laughs) The extreme vertical actor! He constantly looks up and down. Loves it!

LEITAO: I hadn’t noticed that until you guys were talking about that in the commentary track and I was like, you know what? Gosh darn it. They’re right.

FURTADO: So accurate. That’s awesome.

LEITAO: Yeah, it’s pretty cool. So what, what were some of the best moments, some of the best sequences that you enjoyed putting together for this?

FURTADO: Lylesburg and Boone in Baphomet’s chamber, that whole thing about like you brought her into this, you brought Lori into this world, you’re ruining our lives and then they talk about Baphomet. That was one of those scenes that I cannot believe anyone missed this opportunity. Oh my God. Okay. As an editor. Sorry, I’m getting so excited. Do you know what I’m talking about when Lylesburg and Boone are… in there?

LEITAO: When Boone goes down to the Tabernacle for the first time to talk to Baphomet, yeah.

FURTADO: Yeah. That scene, the way it was in the Theatrical Cut and in the Cabal Cut, there’s a solid gap and it seems like Boone got lost in Midian — like someone stuck in Ikea, doesn’t know how to get around. He finds Baphomet’s chamber, the Tabernacle. I thought it was just so, so cinematic. I found these shots while going through the footage by the way of just like all these b roll and, and, and stuff that didn’t get used closeups. And one of the shots was of the statue of Baphomet in the chamber and it was just so beautiful. And Lylesberg looks up and it’s like, that’s meant for this shot. We got to use it, and then go to a cut of Baphomet in the Tabernacle and it’s just so beautiful. When I first saw it fully mixed with the audio, I got chills. Such a gorgeous cut. I’m not sucking my own dick there. I’m sucking whoever shot that shot knew they wanted and just to see that happen. Definitely.

LEITAO: And Clive actually asked for that, right? He asked for that shot with Baphomet to be put back in.

FURTADO: Yes. I was so stoked to be able to have these back and forths with Mark and Clive. This is one thing that was said to me right when I started ‘Whose film is this?’ and I go ‘It’s Clive-fuckin’-Barker’s film.’ He’s like, ‘Okay great. Just so you know.’ I’m like ‘Okay’. Yeah. Not a question at all. So I wanted to make sure everything I did went through to him. So I always made sure to give him options and different things that I thought would make this film more interesting. But I wanted him to choose. And that was one of the things he was like, ‘Yes, yes!’

LEITAO: Clive is very emotional about this film according to his own words, in the making of, and special features you can understand just the scope of this movie was too big for 90 minutes. And the way that this movie ended up getting kind taken from Clive and messed around with it really gave him like a sense of failure that he had to overcome it for the next two years. It’s hard. I mean it’s hard to understand what he went through after having this entire production at the end that was not the movie he wanted to show to his fans. Now finally it’s been redeemed and it’s right here. It’s got all the seals of approval. It’s beautiful. The edition from Shout Factory is amazing. It’s really extraordinary. And some of the hardest sequences to cut.

FURTADO: Oh Man. One sequence that was damn near impossible is this flashback that we ended up not using because it didn’t make sense and we just had to accept the fact that it wasn’t going to make sense. Uh, it’s, when Lori is walking from the coffee shop right after Boone gets ambushed by the police at the hotel. There was a scene in the Cabal Cut that’s just such a good scene. It’s such a cool scene. I see why they would want to use it, but it was Lori going from the grocery store to car than having a flashback vision and watching… I call him ‘Bammers.’

LEITAO: Berserkers?

FURTADO: No, no, no. He was a Butterball in Hellraiser….

LEITAO: Oh yeah. Simon Bamford. Yeah.

FURTADO: Yeah. Simon Bamford. Watching him explode — originally in the Cabal Cut. Lori’s watching as he explodes. But it was just too strange. We wanted to know where she went. Like, that was one of the hardest things is like she kind of just disappears for a little bit. Eventually we realized, you know, she’s so calm, but then she has this flashback, and then all of a sudden that look of panic goes on. She hops in her car and jumps goes ‘I’m going to save you’, and then we know where she’s going. But in our cut  actually we didn’t use the flashback. We just use the panic. So she runs from the hotel to her car, gets in the car and drives away. That’s enough of an information for us to go, ‘okay, she’s going somewhere.’ So when we see her next in Midian, it makes sense.

LEITAO: And the Novella Cabal, I think after Boone gets arrested, she actually goes and gets herself some food, sits down at a park bench and eats. So that would kind of break I guess the flow of the movie.

FURTADO: Yeah, it might work in a novella, but unfortunately on, on camera just slows it, we’re in such a high anxiety mode as viewers and then all of a sudden it’s just like, ‘Oh, we’re going to get coffee now.’ It’s just too shocking for the emotions, I think. You gotta really give us a little bit of a roller coaster if you’re going to throw us for a loop, you can’t just get from one place to another, you know?

LEITAO: So the whole assault on Midian was also pretty hard to edit right? Because it used to go on forever in the Cabal Cut.

FURTADO: Holy shit. It was so ridiculous. That was where Clive’s notes really kinda just helped a lot. I left a lot of those notes in my journal that you can read, um, of just Clive talking about if it, if it’s bad, toss it. if it looks like in a weird shot, toss it. And we wanted it. We wanted to give you more battle than in Theatrical Cut because it’s definitely cut short. And now that we have these different stories going on, we have the buildup where Lylesberg and Ashberry having their little tiff and creating that tension between them. So at the end when they, when, when I, by the way, there’s spoilers, I’m assuming, is it okay if I spoil? I don’t want to spoil.

LEITAO: Yeah. Yeah, it’s okay. I mean, I’m going to put a spoiler warning in this.

FURTADO: Okay. Okay. Uh, when Ashbury kills a Eigerman at the end it feels justified and it feels aggravated. So we had that whole scene where they’re, where they’re loading up all the bombs and all the claymore mines in the undergrowth. That guy. But he’s funny as hell…

LEITAO: Kane? The guy with the ear-warmers and stuff.

FURTADO: I’m rubbing a fake garrote on my lip right now. As soon as I remember him.

LEITAO: That dude is called Kane I think.

FURTADO: He is so funny. That whole thing had to have a pay-off everything. I wanted to have payoff and like Lori trying to find Babette —  all that stuff needed to have little payoffs. Something that they did in the Cabal Cut that just didn’t work for our story was detective James Joyce.

LEITAO: Who wrote Ulysses.

FURTADO: He was going to live in the Cabal Cut he lives, but in our cut he dies mainly because if he lived in the Cabal Cut, he finds Babette and gives her back to Rachel.

LEITAO: And she just says something like, give me my child and he gives it to her and that’s it.

FURTADO: Yup. And there’s no real payoff to that. He just kind of sees more explosions and then he’s gone for the rest of the film. And also we would lose the scene with Rachel and Lori giving off Babette and the heart squeeze and the blood popping on the dude’s face like, it’s so good. Why would we lose that? Like, that’s just a great cinematic moment. So it all kind of worked out in the end. Joyce dies. Sorry, the black guy dies, but whatever.

LEITAO: So that was pretty cool. I thought that was interesting, some trends you guys did, although I’m going to give you shit about one of the trends.

FURTADO: Please, give me shit.

LEITAO: Even though I know that this was like a Clive Barker request, you know the part where you guys removed the “Go get ’em boys!”

FURTADO: Oh God, yes.

LEITAO: That’s going to get the fans really upset about that one. I’m sorry.

FURTADO: I don’t, I don’t care. It’s, it’s gone. It doesn’t matter.

LEITAO: That was so good. That was so good. It’s such a cathartic moment when he releases the berzerkers come running out the door, like big American gladiators or something.

FURTADO: That’s a solid Clive request. Very firm on that. Very firm on that!

LEITAO: And the part where Leroy Gomm and Devil Lude are discussing about who’s going to fight, who. ‘You take the other one. He’s the big one. Sucker.’

FURTADO: Yeah. There was trimmed down a little bit. Yeah. Clive also wanted that trimmed down. He  also was wanting to reshoot some things. So we have to make adjustments. it’s just like he grew without the material. Since the material was dated and now watching it again, he’s watching it going, oh, what was I thinking with that line? Or, you know, even if it’s such a great line, he doesn’t think so. So it’s gone.

LEITAO: There’s a big dating thing on that whole movie which has the makeup for Kinski.

FURTADO: Oh yeah.

LEITAO: Mac Tonight! Yeah. I had to put that one in there because a lot of people don’t even know about… don’t even remember Mac Tonight anymore.

FURTADO: Oh No. Every time I watched this movie I remember Mac Tonight.

LEITAO: Yeah, those were some pretty tight cuts. I understand that they came from Clive Barker himself, but some of them are so amazing. Some of these moments in the movie, they’re really awesome. But, but this is what Clive Barker wanted. This is the final cut. it’s really awesome to see Clive feeling so good about it and feeling so happy. And then did you see the posts he just put up like an hour ago or something? He opened up with a Francis Bacon saying that revenge is a dish best served cold, and he says that it really helped him out. Work out his frustrations about this movie.

FURTADO: Really? I did not see that. Right after we did the director’s commentary, we recorded that and he pulled this out — this is old VHS tape of Nightbreed and said Clive. Would you do me the honor of signing this film? And he goes, “This is the first time. It’s not going to hurt”.

LEITAO: That’s. That’s beautiful. That that says it all. I guess some people who saw the Cabal Cut are probably going to expect some things in this, but ultimately this is what Clive Barker wanted and this was also some choices that you guys did for editing were also dictated by the lack of an audio track which, you can’t really make up audio out of nothing.

FURTADO: Yeah, we actually did make a lot of audio out of nothing for most of the audio in the battle scene at the very end is all done by my buddy Justin Cruz who did the sound restoration. He took all the video tracks and cleaned them up as best he could so we can get this thing as sweet as possible. Uh, and there’s also, we, we redubbed a couple people, Rachel, for example, we just couldn’t because the original actress was redubbed for the film and majority rules on her lines that we couldn’t use the original negatives anyways. And plus she’s established as this Gypsy woman who has this deep voice, and so dark and I don’t sound at all like her. So we had to find an actress who could do that.

LEITAO: And the credit for a voice artists, there’s Victoria Barker. Was she the one who did that?

FURTADO: She did Babette, at the very end. “Who will come for us?”

LEITAO: The original one in Cabal Cut was a little. The delivery of the line was a little weak.

FURTADO: How did it play? Was it weird in this?

LEITAO: the Babette lines? No, no, Absolutely not. No. They were pretty good. Also…

FURTADO: Doug Bradley. Is that what you’re gonna say? I know this is coming…

LEITAO: Yes. Doug Bradley. I mean the Cabal Cut it was all Doug Bradley, but in this one I guess you guys picked some scenes that could passably be Doug Bradley’s voice without having to edit it in or something? You left the originally a German accent?

FURTADO: There are a couple scenes, yeah, unfortunately with the film restoration actually came some issues with the audio restoration. There were some issues that came about where some of their dialogue was missing, like some of their dialogue had to go in order to get rid of the sound to take you away from the film. Some of the audio disappeared. So we wanted to Redo all of Doug’s lines and he did them, but unfortunately because of time we just couldn’t get some of them because it didn’t sync up right. I couldn’t really work it in. I, I tried with other takes and it just wasn’t working. And, and unfortunately budget and time just really didn’t work out for those moments.

LEITAO: Some of the moments are pretty passible in terms of being like the original voice from the theatrical [cut], but you don’t really notice it because your brain fills in the blanks. I watched the Director’s Cut twice already and I still haven’t gotten used to the idea that some things are different. You know, my brain is like, did I really see that changed? I don’t remember. So it’s gonna take a while for this to sink in.

FURTADO: Yeah. For example, I, I know exactly the two lines that are used that are original, the, the German accent, which is the Boone yell because it’s just so good. It’s such a great yell. And that could come from anybody because It’s coming from a hallway where there’s echo and reverb and it’s just such a chilling call that it’s just hard to not use that because that sounds like it could be Doug. And then also at the very end when he’s dying, and I understand that didn’t really work for some people. I was reading on Facebook. And then unfortunately we had a first take from Doug and it didn’t work and we just, we couldn’t, we didn’t have the time to get another take unfortunately.

LEITAO: Like I said, the brain kind of fills in the blanks and kind of covers up these little things because a lot of people are still used to Lylesberg being a German accented voice. So, it would probably be more jarring in some scenes to have Doug Bradley’s voice than not.

FURTADO: Doug Bradley though, I would say this, watching the scenes with Doug’s voice, it oddly felt right. I was sitting there going, ‘Oh, this is meant to be.’

LEITAO: Oh yeah, it’s like a warm blanket wrapped around you, especially in the scene where there’s the scene where he’s inducted into the tribes of the moon, Just, that shot, “Aaron Boone, the tribes of the moon embrace you.” when I saw that on Youtube when Russell Cherrington did that first. Doug, Dub, that was insane. I saw that. I was like, chills, goosebumps all over. I was like, dude, yes, this is finally going to happen. It’s like an injustice that’s been righted.

FURTADO: Yeah, it, it felt right. It looked right and it sounds great.

LEITAO: Absolutely. And you guys also did a few little tweaks here and there. Some of them were pretty good, like when you hear the part where he says a “Baphomet is going to destroy the naturals, the breed, Midian, everything!” And then there’s this little bubbling bowl of Baphomet’s blood and when in the Theatrical Cut, I guess there was just like a flash of light that was painted in there, but in this one you can actually see Midian in there.

FURTADO: Yeah, that was one thing that Mark was like, “Let’s do it” and I know a little bit of After Effects and all that stuff and it’s such a simple thing and he wanted to do this kind of elaborate… like we flashed to Midian and we see it really in a very modern way. And I said, “No, this movie was made in 1990. Let’s keep this as true to 1990 as possible” because the charm of this film is the fact that it is a 1990’s film and it’s a Clive Barker film and we did both and Clive ultimately agreed to go with the subtle 1990. It’s kind of just a matte in the smoke that is distorted and hidden in there real quick. It’s cool that you caught that.

LEITAO: Yeah. Yeah, I totally did. I mean that moment was, I thought that was a, tweak that was really good. You guys weren’t like George Lucas-ing the movie.

FURTADO: I tried to do a slow-motion “Nooooo!” it didn’t work. Everyone caught it.

LEITAO: I saw like one of Clive Barker’s notes about trying to get of the green eyes and the neon effects, but like you said, that would have taken away from the feeling of the movie.

FURTADO: Why lose any of those gorgeous rotoscoped paint-like effects? It’s so Clive Barker and it’s so perfect that it would be doing everyone and injustice if those were gone.

LEITAO: And it’s just insane the amount of footage we can see that the special features. There’s almost enough footage in these special features that this movie could have been like three hours long.

FURTADO: Oh, easily. But what would you watch it?

LEITAO: A lot of people were also expecting like a scene between Peloquin and Shuna Sassi.

FURTADO: Oh Man. Yes.

LEITAO: And that didn’t happen.

FURTADO: That footage was not found on film. And also I had no extra audio so I had bits and pieces. If you look, I use a little bit in that music video I made, because it was just like a little bit of them making out and it was all MOS and I had nothing and I had nothing to create a full scene so…. I know I know what you guys are talking about, but it sucks that it was one of those things that they didn’t find everything and that was unfortunately one of the things they didn’t find. I really wonder what else they didn’t find.

LEITAO: Right. I mean, is it even going to appear in the future? Some guy one day is going to find this and then it’s going to be like 2030, ‘This is the real Nightbreed right now!’ I hope they don’t do that, but at the same time I kind of hope they do. It’s just sad to know that some things that a lot of people love so much and think they’re masterpieces are just like gathering dust in some vaults, completely unregistered un-inventoried and it’s sad. But that said, the great redeemer of this whole process of making the Director’s Cut is the fact that now finally, (I posted this on the Occupy Midian) this movie was found, healed and saved from its enemies. it’s like Baphomet, in a way.

FURTADO: That’s great. That’s accurate. Mark Miller, I cannot believe how much time he spent making this movie happen. Just finding the footage. Six years of his life are Nightbreed.

LEITAO: That’s true. I think when they read the news that Mark Miller is trying to find the lost footage of Nightbreed, everybody was like, “psh.. yeah, good luck” rolling eyes, “Like that’s gonna happen”. And so it’s just amazing that this all began with Seraphim spring cleaning. “Hey, what do you know? There’s a few tapes in here. Let’s see what they got. Holy Crap. It’s Nightbreed”. And that was just amazing. It’s been a great ride and it’s coming to a slow grind. Now the fans, their big complaint is they want this movie to come out in the rest of the world, like Region 2, Europe, England, all of their markets, which I’m sure is going to happen eventually. What was important is that this is done, this is locked in, this is released. That’s awesome.

FURTADO: Yeah. It’s my first feature. I’ve done a documentary, but this is my first like linear feature and to have this on my resume as part of history in an odd way, it’s just…  God, I hope I can keep up. I gotta start working on a Lord of Illusions, Directors Cut or something. I’ve got to do something else that needs to be done. This inspires Clive to know that film is not his enemy and the fact that this sold 10,000 copies of the Special Edition alone, not even, not even blinking an eye. I hope it re-instills something in his heart that lets him know that people still love his film and maybe, if he ever directs anything again… I know it probably won’t happen, but it’s something that I’m going to constantly wish for.

LEITAO: Absolutely. All of Clive Barker’s movies have his own like genius that shines through even Nightbreed. I mean even Nightbreed that was a kind of flawed movie and I say flawed, not in the sense that the directing failed or the cast failed, but that the production kind of fell apart at the end and there was a lot of intervention and interference, but even this movie, I mean you see Occupy Midian’s full of people who love this movie. The Theatrical Cut as well. So it’s a testament that even though this movie had less than stellar moments, it still holds up. And now with the Director’s, Cut, I think it’s going to hold up much, much more and a lot of people are going to be seeing this movie for the first time. New fans are going to come, so it’s amazing. There’s comics going on, there’s all sorts of stuff.

FURTADO: The beauty of Clive as his films are so beautiful. It’s sometimes like for example, there’s one thing that’s always bugged me when I found out I was going to do this. I was like, sweet, maybe this is in there, but how Narcisse gets from the hospital to Midian and things like that. There are little subtle things that… There was no footage of it. I personally wanted to know what the hell happened, how’d he get there? But that’s a whole other story. You can just turn your brain off and watch and you’re getting a cool story with visuals and stuff. Like, I don’t think Clive is a perfect filmmaker. Of course he’s not. He’s a human being, but it’s just like, there’s nothing wrong with what he does. It’s just so good.

LEITAO: Clive Barker likes to delve into different fields. He’s not only a writer, he had a theater company. He Paints. He is a photographer. He’s very accomplished and all of these things of course. He’s very much a renaissance man in terms of exploring other media. But maybe his movies weren’t as successful as his books, but they do let the genius shine through them especially the Director’s Cut of Nightbreed and Lord of illusions and Hellraiser. You know, we’re not going to go down the sequels of the Hellraiser because I don’t want to cry live on the podcast.

FURTADO: Those aren’t his movies. Those aren’t his movies. It’s OK. Stick to Barker! Stick to Barker!.

LEITAO: I usually say that Clive Barker was the father of Hellraiser and Peter Atkins was the nurturing mother of Hellraiser series.

FURTADO: ‘Yeah, honey you do your thing Hellraiser you just keep going. It’s okay. No, I support you. I’ll drive you to soccer practice. Don’t worry about it.’

LEITAO: Thank you very much for taking the time to do this and talking to The Clive Barker Podcast. It’s been really fun. And your editor journals are pretty funny to read and very informative.

FURTADO: I read online someone posted on a blu-ray forum, which is awesome. There was one person who posted it and then to post down someone re-quoted it and then said if I had a penny for every time this guy made a dick or boner joke, I wouldn’t have had to pay out of pocket for my blu-ray.

LEITAO: 80 bucks!

FURTADO: Then I looked at it, I talked nothing but Dick and fart jokes.

LEITAO: You did some here to we can do it as a drinking game. But, thank you very much for taking the time to do this and for doing what you did. It’s, it’s pretty amazing. It’s completely redeemed. This package redeems all the forgetfulness and negligence that this movie suffered through the years. I’ve had the making of the film book since the Nineties, so since like 1992 or ’93. For 20 years I’ve seen these pictures of these scenes that never made it to the movie and I’m like, ‘I wonder when there’s going to be a Director’s Cut. There’s one thing, I don’t know if you know that Clive said once back in the early 2000’s I think ,”If they never find that footage, those 25 minutes of footage”… (Which at the time there were 25, there weren’t even like 40 or whatever), but he said, “I’ll be damned if I don’t do like a…, I’ll fill in the scenes that are missing with finger puppets.” And I was like, ‘Yeah, I’d pay to see that. I would totally pay to see that, you know?’

FURTADO: You know what should happen? There’s a thing that’s out now. Star Wars Uncut. Have you seen this? A bunch of people re-did different scenes of Star Wars. it’s like shot-for-shot of like Legos animations, cardboard.

LEITAO: They did one recently with the Return of the Jedi. And also Robocop.

FURTADO: Oh, that’d be so cool. Clive Barker. Nightbreed uncut. Let’s do it.

LEITAO: Dude. You might’ve, you might’ve done the genesis of like Occupy Midian’s next project. Ask all the fans to do like a shot of the movie and at the end we’ll just make a big sweded Nightbreed.

FURTADO: If we do it, I’ll edit it.

LEITAO: You heard it right here. History in the making.

FURTADO: I cannot tell you like I’ve been watching nothing but just Occupy Midian’s Facebook page, Twitter, talking about Nightbreed and there are a couple bad. Of course you know, whatever. But the good is just heartwarming. it’s so overwhelmingly fantastic. Like just knowing that I’m part of this and the fact that people are loving the film and no one’s saying anything really suck. There’s a couple of scenes like Ryan Turek from Shock Till You Drop. I ran into him at a movie and he just went, “Oh my one gripe with the film. It’s just this one clip!” And other than that, it’s just like people, people are extremely, extremely kind about this film and it’s super cool. Just I’ve never had that in my life and I want more of it. I want to do more stuff like this.

LEITAO: So I guess a lot of people are going to be changing their IMDB pages.

FURTADO: Hopefully. We’ll see.

LEITAO: Well, thanks a lot for doing this and for your work for the Director’s Cut. It’s, it’s been really fun talking to you and I will let you know when we put up this episode we’re going to be doing a of the editing as quickly as possible and we will post this on Occupy Midian first.

FURTADO: Great man. Thanks. I appreciate it. You’re a Georgia Peach.

LEITAO: All right, thank you Andrew. And I wish you well in all your future projects.

FURTADO: You too, man. Stay safe.

LEITAO: All right, bye bye. Bye.