Episode 39: “A BUFF'S LAMENT” feat. Peter Vack aka the masterofcum *PREVIEW — FULL EPISODE ON PATREON*

You are listening to the free version of Clop Farm. For the full episode, sub to Patriot on Geyser. Swear down. Bosh. Introduction of Alex Beanstalk. Into Sittable. Dude, when you called Tim Chalamet, I genuinely knew he was over. Those are your exact words. He's calling me out for being sus. What was your worst birthday party? I tried to get Timmy in my first short film. Yeah, but he was 17 and there was a sex scene. Sex scene with you. When we kissed earlier, it was consensual. For one of us, yeah. You asked me, bro. Bro, we're waiting too. No, Cap. You're the biggest boy I've ever seen in my life. Someone asked me last night if I was South African. Someone asked me last night if I was South African. In fact, the only meme there's been this year is everyone changing JD Vance's face. Yeah, shout out to my dad's dick. Truly pretentious in a way that's very necessary, I think. So how do you relate to Khan? And I genuinely mean that. so do you think isho speed is tarkovsky i like um sure i don't know i know harmony i know harmony kareem said that and like i i want him to fund a movie of mine yeah whatever he says yeah that would be sick yeah i mean he should he should he should it's part yeah um yeah like i don't watch streamers i i actually uh wrote a commercial though for kai sanat and kim kardashian no way yeah yeah but they used none of my dialogue of course of course but have you heard of this director called fuck uh gibson hazard no he's a pretty great music video director actually his style's kind of nuts and he i helped him write a script but randomly they didn't need my help because at the end of the day just kai yeah i'm just rift and it was funny but it was like you should look it up guys look it up it's like um for kai's like mafia thon too so but that was like how i started even looking at streamers but i know you fuck with streamers oh my friend letty is a streamer shout out letty

shout out letty i don't watch i think it's like i'm it's just that's where like the generational divide really starts to rear it's head these guys are gen x yeah yeah yeah no are you guys are zoomers though right or are you these guys yeah okay you're a millennial it's that way it's my lot to bear yeah um no i just can't i just can't do it it's it feels too like overstimulating and like alien to me and it kind of like brings my rapidly declining health and and mental state into stark view or something like i just i just rip i also like i you might like enjoy your life i feel like you have to have no i don't i really don't okay it's also like you need to watch the one the one that's bullcrap bro you love that yeah the one um the one like bastion of like kind of like self-respect i still have is not feeling that the the like desperation for relevance to tap into every new form of uh popular media yeah ie streaming yeah i know i i can't get into streaming either but i'm old i'm like ancient so that's like not for me basically i like it conceptually but i would not get into it probably as is that i like i should be conceptually yeah the idea that seems dope i'm like go for it man that's awesome i was pretty surprised when i peeped the dob are you do you like the day of birth the what the date of birth of who of you oh god yeah do you like what you thought it was do you older no i thought you were like 28 or something oh my god that's so nice yeah i'm fully 10 years older than that but i i yeah i in my mind i'm getting comfortable being in my four i tell people i'm 40 right right because i i have to get used to it yeah yeah but do you do you think they're like um with the the things that you work on there's like it's it's like essential to like be like a young head um well i would definitely be doing i i don't know what do you mean young head Like, do you think maybe it's like you've carved out a niche in the things that you're into and if you pursued more traditional film, it would be less successful? I think I'd like to be more successful than I am even right now. I think I'm just into what I'm into. I'm almost like, I wish I could change what I was into, actually, and be focused on things that were less, I don't know.

a common criticism even though i don't agree with it is like the stuff i do is so niche but i'm like that's just that's like that's a curse of mine i guess i just am more interested in niche things uh i would love to be able to be like there's some people i don't like like there's some like it would be amazing to be able to make like a tv show that like was watched by like 10 million people every week that's like I think comes from a sensibility that I just actually don't have. It's not like I'm a void. It's not like I'm, yeah, I'm not like, it is all pretty genuine, actually, what I'm interested in. I love all this stuff. It actually excites me. It always has. I just love it. So do you have faith? So I'm immature. I'm genuinely immature. You're like, oh, the old man peepee. Olvak, is this a calculated thing? And I'm just like, no, I just, I had to. immature taste do you do you have faith that something like Rachel Orman could get a cinema release I think it should have a cinema release I mean we've sold out 11 screenings in a row at the Roxy Cinema in Tribeca this is New York that's not like that's not easy if I were running a company I would say oh that that's a movie we should we should play all over the country yeah you know I think it's definitely there's certain ideas that the movie is only enjoyable if you're from New York but I've had plenty of people who have like not a lot of background in niche New York culture come and to them it's like a sci-fi movie yeah yeah those parts become almost like I was wondering about the clockwork the language in clockwork yeah yeah it's truly only if you're like super pilled all this New York stuff that you even have the opportunity to hate on it uh-huh Yeah, well, I guess maybe in a lot of the visual sensibilities, it's kind of like John Ratham and Mika Rottenberg rather than a Harmony Kareem, maybe. That's probably true, yeah. So I guess I admired that you would want to bring that sort of language to a cinema rather than a fine art context. I would bring it to that context, too, if those opportunities came to me. But it is a movie.

you know it's really designed for a theater experience it has a narrative so yeah we want to show it in cinemas fuck yeah yeah you know look to go like film bro mode for a second i'm pretty sure they released clockwork orange all over the country yeah you know it's it's it's very um it's very weird to think that people everywhere like that people who don't live on the coast don't want to be exposed to like avant-garde style movies for sure they do they absolutely would i i think it's a it's a false idea there's people are also just so like these movies have lasted forever not just because people in new york or la care but because people everywhere care so what what what is the the like the how do you how do you frame or what's the selling point how do you frame this to a person who has sort of none of the surrounding kind of like new york context it's a dystopian sci-fi you know the fact that there's some culture in there references to culture in there that are very niche is more to someone who doesn't know them could just represent how uh echo chamber-ish the internet gets so they're like oh of course like i'm watching a movie about about internet culture so the fact that it gets to a place that might be incomprehensible could resonate very deeply like oh we've all stumbled upon corners of the internet where we're like outsiders and that's a real thrill it can be a thrill i think i mean it's part of why i got interested in meme culture to begin with is that to stumble on a space where clearly there's a shared sense of aesthetics there's a shared sense of slang and of language you're like whoa that's interesting you don't always have to be on the inside to like it like i really want to push i mean i do am sensitive and i am affected by the the hate that i get from this movie and so like i always feel a little grotesque talking about it but whatever like you know i will get every for every good review there's always a bad review that's like this movie is like alienating to people who don't understand this i'm like i really don't i want to say i can't go with that because the main character is like is like empathy

personified and like that clearly is the focus and I don't know like I think that those people are showing their hands in a sense saying that like I'm personally triggered by this because like for example there's an actor who's in his 50s who was in the movie came with his brother they don't live in New York they don't know shit about this and they were just like we talked about this film for three hours like yeah some of it was like what the fuck but people don't want sometimes to be or at least I It's like every filmmaker, every kind of creator of anything usually is making for themselves, right? And I am interested in movies that let themselves be esoteric because it's so rare. How do you reconcile that tension with being involved in working with a crowd of people that had, at a certain point, so much attention put on them? Be specific, like who? Oh, sorry, it's like the people you cast in the film. Like who? Like Dasha Necrosova, all these types of people. And it gets associated with the Dime Square movement. I guess, how do you reconcile the tension with this being this kind of hyper online, very localized set of people with trying to make, like you say, a dystopian sci-fi film? Well, yeah, yeah, yeah. Well, for Dasha, it was easy because she's playing the character of like an internet edgelord. And so she is. And so it was just beneficial to cast someone who has that as part of their persona. Yeah. and then i think it is you know the movie's been in the works for so long and i think at a certain point you know i started it as a much younger person with this as an outsider to internet culture really wanting to make a movie about internet culture and then i realized oh that's impossible because it's something different for everyone so i felt that the only way to do it truthfully was to just be very personal about my experience um and so i do live in New York and in this neighborhood and I'm a New Yorker I've always been just like naively fascinated and curious and loving of New York culture and trends you know so those were the memes I was consuming at the time I made the movie those were the people I was following at the time I made the film and so that had to just be very honest about about all that and include it all I guess it's kind of a testament to success when you say you're trying to make it about

like like experience rather than like maybe like taxonomizing what's going on when like uh when all the like crump shit came out and he thought it was like about him you know what i mean of course you know crumps and i are friends now like he has totally done a 180 from the persona that he used to have like i think he would admit there's no fascism to decrypt there's no literal fascism to decrypt it was a it was the beginning of his project you know it feels like for for how prevalent it is in our lives there's not much like art that directly engages with the experience of being online in a very like visceral way like obviously it's woven into like plot points and it's like it's unavoidable but i think this is as close as i've seen to a film or a visual attempt at capturing really really tangibly what it is to be overwhelmed overstimulated on the internet do you know what i mean thank you so much for saying that but in a way it's also sad because you know we need well i love still love cinema even though it's like uh who knows i still think it's vital but we need movies that speak to this experience and art that speaks to this experience because it is our experience so you know the the attempts have to happen for sure but i'm glad you think that what did you did you see the beast not yet um let's say it kind of has this storyline which is kind of, like, mimicking the, like, Elliot Rodger situation. Oh, yeah. But to me, I kind of watched it, and it's, like, everything else about it is, like, really anachronistic, even in its presentation of sci-fi. And it kind of, like, it kind of felt very, like, too cringe. Like, forced, like, shoehorned in, like, oh, like, what? Like, incels are, like, a main feature of, like, love in the 21st century. Right. Rather than it being this kind of, like... yeah yeah like construction of the experience of like actually interacting with um the online experience you know so why do you think it's it's there's a lack of um attempts at trying to capture this is it just the difficulty in recreating it is there something else to play i mean for movies definitely because there's so many there's like a lot of technical challenges when you're trying to recreate

how much people are on their phone it's not inherently cinematic at all to just like have someone on their phone all day but that's the truth a lot of people are but you know filmmaking is so challenging so it's like fun for people to just be like it's still the 90s it's still the 80s like I can just make a regular movie but it's why so many movies do feel kind of like, because they're not honest about how much people are on their phone. You know, like Eugene, for example, who I love and who's a, you know, just a great friend and someone I look up to too. The amount of work he puts like technically puts into his movies to represent the like, you know, multivalent screens and the different apps is insane. It's insane. Most filmmakers don't have the stamina for it. They don't have the like talent for it, you know? So it's like, that's why but look like shit like this like stuff you do gets at it more easily because it is content for the internet yeah so you know and if you know and i think you you guys to me anybody who does podcasts or content like that is what we have right now but like yeah i because i'm old i would like movies and books about it too and like theater and you know i it will it's eventually will happen you know i thought red rooms was also very good if you saw it's it's pretty this i think i told you about this guys like um about this like model who's obsessed with this um like dark web serial killer and it's all about her interacting with these kind of like dark web forums and shit but the kind of violence all off screen in the kind of like classic haneke way um but i think yeah there's definitely like a compromise to be made between like and maybe there's definitely like we're probably implying there's a big element is that like people are afraid to throw money like into that stuff because they have this like preconception that it won't be understood and like they just want to like pander to this imaginary audience who doesn't understand anything exactly and also people are scared to throw money at any movie it's like one of the worst investments ever so it's it's yeah people are looking always to minimize their risk with films but the paradox there is with anything creative you always should be risking something

So that's why I think cinema is slower, say, than fine art or other mediums that don't require huge investments up front. Are you optimistic in any sense about the internet? the internet's like life i'm both pessimistic and optimistic about it you know i think it's like it's so just a mirror of what humanity is that it's like yeah i'm optimistic but also not like it's always going to contain the best and worst of us a mirror or like to my mind it's kind of just us it just is a version of us it feels like a an amplified version of the for the most part our worst tendencies But also sometimes our best. Sometimes our best. I mean, I've made some of my best friends online and had some of my best creative experiences online and seen some of my favorite art sometimes online. So there is, yes, all of the bad parts of humanity are there, but the good parts are there too. And look, people will never not be trying to figure out if the bad outweighs the good. And I just don't feel it's my job to even think about that. None of this would have happened without the internet. Exactly. Yeah, yeah, yeah. And by that you mean the polycule we're now in. Yeah, exactly. The five gay relationship. Yeah, yeah, yeah. Exactly, exactly. We're really, I think, yeah. It's really, we're doing such great work for men to... introduced the concept really mainstream of the gay, straight kind. Wasn't that just being metrosexual? It used to be, but it's evolved. None of y'all are metrosexuals. I'm kind of dressed like a metrosexual. A little bit. Cuspic. Yeah, I really am. Remember we said we were going to do costume changes? I wonder if we will. You are listening to the free version of Plot Podcast.

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