The Extras - Warner Archive Release Highlights "Camille" & "I'll Cry Tomorrow" Blu-rays

Episode Date: February 22, 2023

George Feltenstein joins the podcast to discuss two new Warner Archive Blu-rays releasing on March 7th.  First up is the romantic classic CAMILLE (1936), starring the great Greta Garbo, a young Robert Taylor and directed by George Cukor. This beloved story is based on the book by Alexandre Dumas and tells the story of a young courtesan in mid-19th century Paris and the younger man who falls madly in love with her.  It is a story of romance and passion and ultimately tragedy.  The Blu-ray includes several important extras, which George describes in detail.Next George reviews the 1955 biopic I'LL CRY TOMORROW, starring the talented Susan Hayward and directed by Daniel Mann.  This film tells the true-life story of Lillian Roth, a broadway star whose career was ultimately doomed by alcoholism and her path back to recovery through Alcoholics Anonymous.  Susan Hayward sings her own songs in this film, and delivers an Oscar-nominated performance.  The release has a robust amount of extras, and we discuss them in detail.We end with a quick look ahead at the additional four Blu-rays releasing later in March.Pre-order from Amazon:Camille Blu-rayI’ll Cry Tomorrow Blu-rayFlamingo Road Blu-rayNeptune’s Daughter Blu-rayConfessions of a Nazi Spy Blu-rayThe Prince and the Showgirl Blu-rayThe Sitcom StudyWelcome to the Sitcom Study, where we contemplate the TV shows we grew up with and...Listen on: Apple Podcasts   Spotify Warner Archive Store on Amazon Support the podcast by shopping with our Amazon Affiliate linkDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Hi, I'm film historian and author John Fricke. I've written books about Judy Garland and the Wizard of Oz movie, and you're listening to The Extras. Hello and welcome to The Extras, where we take you behind the scenes of your favorite TV shows, movies, and animation, and their release on digital, DVD, Blu-ray, and 4K, or your favorite streaming site. I'm Tim Millard, your host, and today George Feltenstein joins the show for a review of two Warner Archive

Blu-ray releases coming out on March 7th. Hi, George. It's good to talk with you today. Hey, Tim. It's great to be with you as always. Well, before we dive into the two films we're going to discuss, I did want to ask you what the response has been to the amazing five January 2023 releases so far. It's been spectacular and really deeply rewarding just to be back on track with, you know, a sizable amount of releases every month. And this is what the goal was. I don't think it's any industry secret or company secret that there is a great deal of change that's been going on at this company for the last several years.

And stability seems to be taking hold. And support for the Warner Archive is strong and multifaceted. We're starting to see other departments wanting to use that brand in other ways to focus on classic film, which pleases me to no end. And I just think there's going to be more activity around it. And we're heading towards our 14th birthday. So I find it oddly rewarding that just people are finding out about this now who've worked here a really long time. People are finding out about this now who've worked here a really long time. Really, I didn't know about this. So I'm happy to tell them.

I found that amusing too when I worked there that it was almost a better known brand outside of the company or outside of the home entertainment because it was very niche. There were a lot of people who didn't know as much about it within the company. And yet outside there was such a huge following and fan base for the work you were doing with the archive. Well, all with very varied different interests. It's impossible to please everybody at the same time. But when we were doing more contemporary films than deeper library classics, the people that love the films from the 30s and so forth were saying, oh, they've only released one film from the 30s in the last four years. And, you know, now that we're able to have a more diverse slate, people are complaining that we're not releasing enough films from the 90s. Right.

So it's somewhat laughable, but at the same time, that is not to discredit or diminish the people that want the more contemporary films. So we're trying to find a way to please all these audiences. And as our slate develops and grows through the year, people will see more of an eclectic group of films, but all reflecting what people want. And we're working at any given time on 15 to 20 different films in various stages of production. It never ends, and I hope it never does. Well, I enjoyed all five of the January releases. And as you just said, it's quite a variety of decades and types and genres and styles of Westerns and, and, uh, comedies and, you know, romantic comedies. It was a real variety. And I hate to say I had a favorite or anything, but I did want to say that I was blown away by Our Dancing Daughters,

just how it looked and sounded. And I don't know a lot about silent films. And I hope that people who like silent films, you know, purchased it and really dive into that one because I thought it was, well, I just thought it was amazing. And I said this before, but I'll say it again. It always looked horrible. Right. And what Warner Brothers Motion Picture Imaging did to achieve that was painstakingly frame-by-frame restoration. and the end result speaks for itself. And we've gotten a lot of very nice compliments about it and fans are happy and there will be more silent films this year and I'm excited about it for sure.

Yeah. Well, for our new listeners and every month we have new ones joining us, if you haven't listened to the January Warner Archive Relief podcast, we did split up the five releases into two different episodes. So look for those as January 2023, part one and part two, and you can get the full review on the remastering and everything about those five releases. So you want to check those out. Well, George, you announced at the end of that part two podcast that the February releases were moving into March.

And we didn't have dates, I think, or announcements of exactly what those movies were at that time. But now we know the first two Blu-rays are releasing on March 7th. Which title would you like to start with today? Well, I think we should go chronologically because it just makes sense. Okay. The first film that I'm excited to talk about is Greta Garbo and Robert Taylor starring in George Cukor's 1936 production of Camille, which is one of the greats of the pantheon of MGM classics for sure. And that was also the first time, not the last, but the first time that George Cukor got the opportunity to direct Garbo.

And he had kind of a reputation of being a women's director and getting the best performances out of the great actresses at MGM and the other places where he worked before, during, and after, frankly. And it was really a magical combination. And this is a quintessential MGM 1930s historical period piece with gorgeous sets, gorgeous costumes. And Garbo's performance is among her best. Some people think it is her best. I think it's hard to pick a favorite personally, but she's really astounding. You can't take your eyes off of her. I mean, that is what makes her so special. And the fact that she made relatively few films and left filmmaking and being on screen at a young age, and being on screen at a young age when in this day and age, you know, speaking in the 21st century, most actresses start to hit their stride in their mid-30s, you know,

and Garbo basically left the screen at the same time that people today are hitting their stride. You know, she started obviously very young and she was not comfortable with the public persona. And what we have is a legacy of cinema with her performances that are all quite different and we'll be releasing more Garbo as the year goes on. Some very highly praised, respected and oft requested titles. But to have this start off the year, you know, because we're still only in March, I think is a wonderful thing. The idea to team her with Robert Taylor, he had really just burst upon the studio like a year before he was still appearing in short subjects. And he was catapulted into leading roles.

He was catapulted into leading roles. And he was one of those actors where women were, you know, falling in love with him left and right. And men respected him and wanted to be more like him. and was probably the longest contracted actor at MGM because he started in the mid-30s and was there off and on from the late 50s onward. But he basically was one of the last contract players, and he died very young of lung cancer. I think he was in his early 60s. Maybe he was even younger than that. But he was in so many different kinds of films. But Camille really put him on the map. He really is outstanding in the film.

And everything about the film, for me, kind of feels new in the sense that this new master on Blu-ray, it's like seeing the film for me for the first time. And I had seen the film years ago, you know, growing up, seeing it on TV, awful 16 millimeter prints, seeing it in revival theaters, awful 35mm prints, and the earlier video incarnations, they all suffered from being so many generations away from the original. This is indeed one of those many MGM films where the original negative was no longer in existence. I think it may have even deteriorated before the Eastman House fire. I'm not certain about that. But what I do know is that they made preservation elements

very early on. And it's those earliest generation preservation elements that we scanned it for A for this new master. And it looks and sounds magnificent. It has a very healthy patina of film grain. And you're looking at what a release print would have looked like when the film first came out. And that, I think, is something to rejoice for people who really appreciate what film is and what film is organically supposed to look like, but you're not distracted by a speck of dirt or scratches or, you know,

everything has been polished so that it is a pristine presentation. And we're very proud of it. Yeah, I just watched it the other night and it looks terrific. The remaster is just the colors, the contrast, everything looks terrific. You know, it's got a lot of that soft focus on the closeups of Greta and they just look fantastic on my big screen. And the audio, of course, as we always talk about, sounds terrific as well. Stay with us. We'll be right back. Hi, this is Tim Millard, host of The Extras Podcast. And I wanted to let you know that

we have a new private Facebook group for fans of the Warner Archive and Warner Brothers Catalog physical media releases. So if that interests you, you can find the link on our Facebook page or look for the link in the podcast show notes. Yes, this went through a full audio restoration as well as a picture restoration. And the results speak for themselves. And it's been, I'm thinking around, trying to remember, I think it's probably about 18 years since we put out the DVD. Because we did a big Garbo box set sometime around, I think, 2005. And that's when Camille came out on DVD. Huge improvement from the video cassettes and the Laserdisc.

And now what technology and tools enable us, as well as getting back to earlier generation film sources. It's so rewarding. I use that word a lot, but it really is. To be able to present these films as close to they were originally presented as possible. And I know for a fact, this has always been so popular. This film was re-released many times. And being an ex-New Yorker, I know not from my own youth, but looking at old issues of

the New York Times from the 50s and the 60s, there are certain theaters that weren't known. They weren't repertory theaters. They weren't known for showing old movies. But, you know, special engagements of films like Camille would be booked in for a week. And this film's popularity also has a little bit of an exclamation mark to it because the head of the MGM editing department was a woman named Margaret Booth. And Margaret Booth was at MGM from its inception. And I think she was there

until the early 70s and the beginning of the Kukorian era where they basically started to clean house. But Ms. Booth actually kept working and she was hired by Ray Stark, the famous producer who made films like Funny Girl and The Way We Were and a lot of the Neil Simon films. And Ray Stark did a lot of work at Columbia and he was the producer of the movie of the Broadway musical, Annie. And when they, that was a mega production, huge budget, released in 1982. And they went to New York to do location shooting at Radio City Music Hall. And after they got back to California, they realized that a lot of the footage they had shot was underexposed and couldn't be used. They didn't know how to solve the problem. And Margaret Booth at that time was the supervising film editor for Ray Stark's

production unit. And she said, I know how we can fix this. I can cut Camille down to five minutes. And that's why the millions of people who've seen Annie, and that's now a 41-year-old movie, you know, kids went to see Annie and suddenly they're watching Greta Garbo for five minutes. That's why. So I always thought that was an interesting little side note.

It seemed very strange to me at the time when I saw Annie. I was like, why? Really? But it was basically Margaret Booth's way to solve an editing dilemma because they couldn't go back to New York and reshoot. of an editing dilemma because they couldn't go back to New York and reshoot. And so if you only know Camille from its very brief excerpt in Annie, now's your chance to see it on Blu-ray.

And it's much, much more of a great movie than the other film that I was referring to in which it's excerpted. Right. Well, I know that on our new Facebook group for the Warner Archive and Warner Brothers catalog, a lot of people, when they saw this was announced, were very excited. I have to say this one probably was one of the most, created the most excitement for folks there. Well, one of the big questions were, what are the extras on this release? And there's some pretty important ones. Did you want to talk about those? and it's an extended what they would refer to then as an air trailer or a radio trailer and basically all the studios did this but of course MGM did it better than anybody else

they would have these pieces that were normally probably less than 10 minutes long. But for Camille, they turned it into like a mega salute to Garbo. And the head of the advertising department had a very uncharacteristically unappealing voice that you wouldn't think that this person would be selected to do radio announcements and voiceovers. He is the voice of MGM on both regular trailers and these radio trailers. His name was Frank Whitbeck, and he decided that he would narrate their regular trailers and their audio trailers. And he talked like this and it was just, you know, so I never understood how they thought that was like the best way to present their films. to present their films. But obviously the formula worked because for many decades,

MGM was the number one studio in the industry and the film legacy lives on. And I found that of all the air trailers that we've presented on our discs, this is a little different because it doesn't just present portions of Camille, which is a big deal for people listening to the radio to hear little pieces of a new movie.

But they also talk about Garbo herself because she was such an enigma and a curiosity even then. And then there's another extra on there, and that's the, it's the 1921 silent film. Well, that in and of itself is quite remarkable. You know, I almost think of it as, I didn't want to do this with the DVD years ago either. I didn't want to present it as a double feature

because I wanted the focus to be on Barbos Camille. But as a reference, you get to see the great Nazimova. There were a lot of actresses in the silent era that just went

by their last name. And Nazimova and a very young Rudolph Valentino starred in a silent version of Camille for Metro Pictures before the merger of Metro Pictures, Goldman Pictures, and Louis B. Mayer Productions in 1924. This is a 1921 version of Camille. And it looks pretty good considering that it's over 100 years old. Yeah.

And we had it scored several years ago. So it's a whole extra movie as an extra, which is very cool. And you get to see a very different interpretation of the story. And, of course, this story goes back to the 1800s. So it has been told off times in many ways. Yeah, it was fun to see that extra. And like you said, it's basically another film, which is pretty unique. And what a great value that is for this, you know, Blu-ray release. And I know that it was also, like you said, on the DVD, but a lot of people wanted i know that it was also like you said on the dvd but a lot of people wanted to be sure it was also going to be on this one um sure i mean we we tried

to port everything over when it's legally possible sometimes we can't move something over because it's something that may have encountered a legal problem since the release of the DVD and we can include it. Fortunately, that wasn't the case here and we could. Yeah. Yeah. Well,

this is a great release and it also has the theatrical trailer I saw on there as well. So it's a great release and it's got a nice amount of, of extras in this release as well. So I really hope people enjoy it. I'm confident that they will. a nice amount of extras in this release as well. You did indeed. I really hope people enjoy it. I'm confident that they will. So our second film from March 7th

was made pretty much 20 years after Camille, and it is a story of tragedy, as Camille is, but it also is a story of recovery and hope. And it was somewhat groundbreaking for its time because it was a very real portrayal of someone's real life story. portrayal of someone's real life story. And this is out Friday Morrow from 1955, featuring an outstanding performance by the great Susan Hayward, portraying singer Lillian Roth. And it was adapted from an autobiography by Lillian Roth,

which had been released as a book probably a year or two before the movie came out. And Lillian Roth achieved stardom on the stage and in early talkies when she was a very young girl. And unfortunately, she had some personal tragedies that drove her towards alcoholism. And alcohol destroyed her career. It destroyed her life. And through the help of Alcoholics Anonymous, she was able to rebuild her life, write her life story, publish it as a book. The book was such a bestseller that MGM bought the rights to the book, cast Susan Hayward as the lead. The film was a huge hit. Hayward got nominated for Best Actress at the Academy Awards, And it also brought more light onto Lillian Roth and her career as a

recovered alcoholic performer. And Lillian Roth started recording again. And she was even in a Broadway musical in 1970 or 71 called 70 Girls 70. she had a big production number that was a candor and ebb stage musical people that were cabaret and there she was 40 years after she had been on screen with the marks brothers you know belting out songs in a broad theater. So from my understanding, the later part of her real life was much happier and the recovery at this point was very important. But Alcoholics Anonymous, because it is an anonymous program, really hadn't been depicted on screen that much or on television that much. It really was something in the shadows. And what this movie did was let people know that there is a path to recovery.

And having known several people in my life going back to college who found recovery through Alcoholics Anonymous and other 12-step programs. It saved millions of lives. And having the film, I mean, the organization blessed MGM making this film. And we have little snippets. There's a lot of extras on this disc that show, you know, you see the real Lillian Roth and she was still very attractive. And, you know, I know she put out an album when the movie came out. So this has always been a film that I've admired greatly. And you also get to see Eddie Albert. If you only know Eddie Albert from Green Acres, which is what most people know him for, he gives a wonderful performance as one of the people, when she does go to Alcoholics Anonymous, it's really his guidance that helps her. And it was directed by Daniel Mann, who really came into his own during the 1950s.

And he had come from a New York background, having been part of Sandy Meisner's Neighborhood Playhouse. And he taught at the Actors Studio. So he brought that sensibility of the modern post-war New York stage acting to his directing. to his directing. And the first film he directed was Comeback Little Shiva, which Shirley Booth won the Best Actress Oscar for, recreating her Broadway role. And the same year as I'll Cry Tomorrow,

he directed Anna Magnani in Tennessee Williams' The Rose Tattoo, and it was Magnani that won the Oscar. So he was really, I would say, one of the hottest directors in the 1950s. And he continued to work in very high profile films throughout the 1960s. And his career started to diminish in the early 70s. He started working less and less, did some TV. As a matter of fact, a friend of mine that I went to college with had a small part in a wonderful TV movie he directed that was sometime around, I think, the early 80s. It was called Playing for Time with Vanessa Redgrave. And he directed that.

So his reputation as an actor's director was quite remarkable. was quite remarkable. And he directed many films that won the leading performers Academy Awards or Academy Award nominations. And he worked with Susan Hayward again in a film that we have out on DVD that I think is very underrated, an MGM film called Ada that Susan Hayward co-stars with Dean Martin in.

And I would hope that someday we would get to bring that out on Blu-ray because I think that film was highly underrated. But Susan Hayward died at a relatively young age from cancer. And one of her last screen appearances on the big screen was in a picture called The Revengers, where she had a notable cameo, maybe even more than a cameo, opposite William Holden. And again, it was having Daniel Mann as director. I'm sure he was involved with getting her that part, for sure, because I think they had a very, very good relationship. He also directed Elizabeth Taylor in Butterfield. She won the Best Actress Oscar for that.

And during her lifetime, Elizabeth Taylor belittled that movie. But subsequently, her fans have said otherwise. And it is a fan favorite among people who like Elizabeth Taylor. So he had a very, very impressive screen career. And I think being able to bring his film out looking so beautiful. This is a 4K scan off the original camera negative. And previous iterations, whether they be DVD or in New York, they didn't do it on MGM's New York Street. They went to New York and did location photography. And that gives the film much more of a sense of realism. It is a tour de force performance by Hayward

and she does her own singing for those who may doubt it. She had a nice voice and MGM's musical director Johnny Green worked with her personally to make her be able to sing and not have to be

dubbed. She sang on screen in picture only, notably in the now camp classic Valley of the Dolls. She was dubbed by Margaret Whiting, who's a big singer in the 40s. And meanwhile, Susan Hayward did touring productions of Broadway shows like Name. And meanwhile, Susan Hayward did touring productions of Broadway shows like Name. Her voice was certainly up to the challenge. And I think she sings very well in this film. And I like the fact that there are, I would never call this a musical by any stretch of the imagination, but it's a film with songs in it where the music is showing the story of this woman who was a singer.

It's not a film where the songs have anything to do with the plot. But she surprised a lot of people with having such a great voice. Three years before, she had been in an autobiography, not an autobiography, but a biography of singer Jane Froman, who was popular in the 30s and 40s. And she was in a plane crash and confined to a wheelchair ever since. And that was a tragic story. Jane Froman provided her own voice for Susan Hayworth and Mouth. So this was the one time that I know of where she got to do her own singing and it really made an impression. And then we have three excerpts from MGM's first attempt at television programming, the MGM Parade. And it was a concoction of excerpts from MGM films of the past and short subjects and cartoons.

They really didn't know what they wanted to do, except they wanted to dedicate a little piece of each show to a new film that was coming out. So we have three excerpts from the MGM Parade TV series, and they all feature host George Murphy talking about I'll Cry Tomorrow. And one of them actually has Susan Hayward and George Murphy interacting, you know, and that was kind of the way we've used these pieces on other releases before because it's a great way to see how they promoted the movies but particularly to see Susan Hayward talk about it

with George Murphy it's a nice little extra and we have some newsreel snippets we tried to fill it up as much as possible with curios and interesting pieces of the era to fill out the context of how the film was marketed and promoted when it came out. Yeah, I thought it was a terrifically moving story, obviously a true story. when you think of 1955 of when it came out, that really was groundbreaking because talking about alcoholism and these subjects and portraying them, and it's very dark, you know, um, she's wandering around the streets of LA, I think it is or whatever, when she's really down and out and in some bad places. And it goes there, it goes to those dark places. And Susan Hayward, I thought, was terrific in this. And the singing was really a lot of fun as well. And of course, she's portraying a singer.

So it was really great that she was able to do her own singing in it. So that plus all these extras, I thought this is a terrific release. It really looks spectacular coming right off the negative. And that makes such a difference. But it just hardens the realism. You're not looking at a confection shot on a back lot. And the story is not sugarcoated. And we've dealt for the last several decades with works both on the stage and television and big screen,

which deal with all sorts of addiction issues. But alcoholism really wasn't dealt with in the movies, partially because of the production code. And I think that this film, because it was about redemption and taking a proper path, they were approved to tell the story the way they did. What I didn't know until recently, and I say recently in the last several years, I never really knew much about Susan Hayward's life.

And what you're seeing on the screen isn't that far away from what her real life was as an actress. She did have a problem with alcohol, and she was acting from a place she knew, and I think that was something that wasn't talked about when the movie came out, and certainly when I first saw it, I didn't know that. But as I learned more about her life, it made it all the more poignant to know that stability was not something that came her way easily. And it's a very impressive performance. And I'm just grateful that we're able to give it

a shiny coat of paint. As dark and depressing as it is, it's also ultimately uplifting because Lillian Roth's recovery inspired the recovery of others. Yeah, very inspiring. of others. Yeah, very inspiring. It is. It's a terrific movie and I hope people will enjoy this new presentation as much as we did putting it together.

It was kind of revelatory. Well, George, these are two fantastic movies to kind of kick off March, both from the MGM library. Looking ahead to the rest of March, we've got four more releases. What do fans have to look forward to in our future discussion when you come back to talk about these? We've got four

really strong films. Well, this is a very exciting month when you've got each film having A plus A-plus status in my book. We will be talking about Confessions of a Nazi Spy, which is a remarkable film in and of itself, but its place within the history of our studio is ten-tuple that of almost any other movie

because the filmmakers who made it were putting their lives at risk to get it made and warner brothers put their basically their studio on the line to warn about what was going on in europe and we'll talk about that on a future podcast and then we have another warner classic uh joan crawford under the direction of someone we've talked about before, the great Michael Curtiz in Flamingo Road, which is, there is a series of films that Joan Crawford made at Warner Brothers,

starting with Milton Pierce, then Humoresque, Possessed, Flamingo Road, The Damn Don't Cry. She had like five films in a row that were all fantastic and uh flamingo road has some unintentional laughs here and there but it's basically you know she's a girl from the wrong side of the tracks that is a carnival dancer that gets stuck in the town. And what happens to her after that? It actually was the inspiration for a short-lived TV soap opera in the days of Dallas and Dynasty. Oh, wow. That didn't work, but this movie sure did.

And it was a big hit when it came out. And that looks amazing on Blu-ray. when it came out. And that looks amazing on Blu-ray. And then we'll also be talking about another Warner film with another legend of the screen who 60 years plus after her death still remains someone that everybody knows.

And that's Marilyn Monroe, co-starring with Laurence Olivier in The Prince and the Showgirl. And that's a revelatory restoration because it's a 4K scan off the camera negative in the proper aspect ratio. And the DVD was not. It was modified. It had one of those little warnings on the front.

And that should never have happened. But we've righted that wrong with this new presentation. I'm excited to talk about that. And then we have one of our super-duper Technicolor restorations from the original negatives, I should say, plural, with Neptune's daughter starring the great Esther Williams, Ricardo Montalban, and the years before he was Han in Star Trek. He was a big star at MGM, and this is the beginning of his screen stardom as the romantic

lead opposite Esther Williams. Then you got Red Skelton, and that's Neptune's daughter. And it's got a lot of cool extra stuff. A lot of these discs coming up have great extras. So there'll be a lot to talk about in that regard. And then we've got some great things up our sleeve for the subsequent months. So there's going to be a lot of exciting things to talk about, for sure. Well, just so that everyone understands, George, we'll be back to talk about those,

so that everyone understands George, we'll be back to talk about those and we'll get into those in detail because they're all titles that warrant a deep discussion. So if you haven't yet, if you're new to the show or the podcast, be sure you subscribe or follow us so that you can get these episodes right away. And I know that people have been pre-ordering already for those films that are available. So looking forward to that, George. Well, as always, thanks for coming on the podcast and sharing your reviews and filling us in about the remastering and restoration that goes on with these films from the Warner Archive. My pleasure, Tim.

Thank you for the opportunity. It's always great to have George Feltenstein on to talk about the Warner Archive releases. For those of you interested in pre-ordering the films we discussed, there are links in the podcast show notes and on our website at www.theextras.tv. So be sure and check those out if you would like to order those now. If this is the first episode of The Extras you've listened to and you enjoyed it, please think about following the show at your favorite podcast provider. And if you're on social media, be sure and follow the show on Facebook or Twitter

at The Extras TV or Instagram at TheExtras.TV to stay up to date on our upcoming guests and to be a part of our community. And you're invited to a new Facebook group for fans of Warner Brothers films called The Warner Archive and Warner Brothers Catalog Group. So look for that link on the Facebook page or in the podcast show notes. And for our long-term listeners, don't forget to follow and leave us a review at iTunes, Spotify, or your favorite podcast provider. Until next time, you've been listening to Tim Millard, stay slightly obsessed. The Extras is a production of Otaku Media, producers of podcasts, behind the scenes extras, and media that connects creatives with their fans and businesses with their consumers. Contact us today to see how we can work together

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