The Extras - DARK CITY DAMES with TCM's Eddie Muller, Host of Noir Alley

Episode Date: April 14, 2025

Send us a textEddie Muller, host of Noir Alley on TCM, discusses his fully revised book "Dark City Dames: The Women Who Defined Film Noir," which profiles noir actresses both at the height of their fame and decades later as they reflected on their lives after Hollywood. He shares the fascinating journey of interviewing these women, gaining their trust, and documenting their remarkable stories of resilience as they navigated life after the spotlight faded.• Actresses profiled include Jane Greer, Ann Savage, Audrey Totter, Marie Windsor, Coleen Gray, & Evelyn Keyes• Added profiles include Claire Trevor, Rhonda Fleming, Joan Bennett, Ruth Roman, Gail Russell, and more...You can find "Dark City Dames: The Women Who Defined Film Noir" at booksellers beginning April 8th, with the first official book signing at the TCM Film Festival on April 24-27.Purchase Links: Dark City Dames: The Women Who Defined Film Noir (Revised and Expanded Edition)Dark City: The Lost World of Film Noir (Revised and Expanded Edition)Eddie Muller's Noir Bar: Cocktails Inspired by the World of Film Noir REVIEW - THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE with Tim Millard, host of The Extras Podcast.The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog Group As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku 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. [e-mail]

Hi, this is Alan K. Roady, author and film historian, and you are listening to Tim Millard's podcast, The Extras. Hello and welcome to The Extras. I'm Tim Millard, your host, and joining me today is Noir historian and host of TCM's Noir Alley, Eddie Muller. Hi, Eddie. Hi, Tim. It's good to see you again.

Yeah, it's been a little bit. I was hoping to see you at the Noir Hollywood, but as I was just saying to you before we jumped on here, I'm the proud father of a 12-year-old daughter, and we're in big time softball season right now, and we're having a good time. And fortunately, when you live in LA, you can start softball in February.

Oh, everybody else is still in winter. So that's my story. But I do hope to see you at the upcoming TCM Film Festival in a couple of weeks. You won't be able to avoid me. And Alan and Rodie and a bunch of other friends there. And we'll just briefly maybe talk about that at the end. But you have a book coming out.

I mean, it's a new book because it's been revised quite a bit. Well, why don't you tell us about Dark City Dames, the women who defined film noir, fully revised and updated. It's, it is a reissue, but what's interesting is it has a slightly different title than when it was first issued back in the early, I think it came out in 2001, is my recollection. And it was called Dark City Dames, the Wicked Women of Film Noir, but now 20 odd years later, that was the one subtle change the publisher requested was that we change from just Wicked Women of Film Noir to the women who defined Film Noir, which I was perfectly fine with because they were doing such a gorgeous job revamping and sort of remodeling the book and adding 10 additional profiles to the six

that comprise the original edition of the book. And it's a book that I've been eager to get back in print for years. And in many ways, Tim, I'm glad that it didn't happen right away because my relationship with Running Press as a publisher has just been so wonderful. because my relationship with Running Press as a publisher has just been so wonderful. They've done such a good job. They let me do a revised and expanded version of Dark City, my first film noir book, and then did the cocktail book with me and the children's book noir book with me. It's just a really, really good relationship. So I'm glad that I waited and got the treatment that I really wanted.

So the gist of the book is that, and it really does go hand in hand with, you mentioned the Noir City Festival in Hollywood. The book goes hand in hand with that festival, which is where I started doing film noir festivals 26 years ago. We just finished the 26th edition. In that first year that we did the festival, all of the women that I profile in this book were still living and came as guests to the festival. Oh, wow. Okay.

And because of that, I pitched an idea to Los Angeles Magazine about interviewing and profiling these women, but that was just a short little thing to promote the festival. But when they all agreed and I met them and spoke with them and then interviewed them at the venue, just the idea of the book occurred to me because I would sit in the audience with them watching the film and it was so fascinating to see these women who were all at least in their 70s, in their mid to late 70s at that point, some slightly older, to see them watching their younger selves up on the screen with a whole new generation of viewers that they never expected would be there, was so intriguing to me. Like, how did, how did, what was that journey like for them to go from being 25 years old and, you know, gorgeous and a hot property in Hollywood and all that, to being these women who hadn't acted in, you know, in some cases hadn't acted in 30, 40 years.

really intrigued by that and I was so grateful that they were so generous to open up and talk about their lives and that's the bedrock of the book is their stories. Stig Brodersen Yeah, because you have it kind of the first part and the second part. We're talking about the original book. You always had that first part which was a telling of their story as a younger person in the height of their fame, maybe. And then the part two was you went back and you talk to them now in their 70s and 80s. Correct. And I'm so grateful to the original publisher of the book. It was done by Harper Collins and Judith Regan was the publisher. And Judith, you know, that was an unusual idea to say I want the book to be as much about these women when they were older and no longer in Hollywood as it was about their early days and how exciting and thrilling

it was to, you know, be a movie star. And Judith, to her credit, said, you know, that's a really good idea. Nobody's really done that. I mean, they've done it as a biography of a famous actress. You know, if you're Lauren Bacall or Lana Turner or somebody like that, they got the full treatment. You know, this is the breadth of their life. But these were all actresses who weren't household names. You know, they were synonymous with Phil Noir, but they were not, you know,

the average movie goer doesn't know Marie Windsor or Audrey Totter or Anne Savage. So that was different, because I wanted to write about working actresses who never quite made the big time. I know Evelyn Keys is turning in her grave right now saying, what do you mean I didn't make the big time? I was a big star. But that was what I really wanted it to be about. It's sort of like, in a sense, like you know, in

the Cohn brothers did inside Lewin Davis, right? And it's like the guy who was good, he didn't make it, you know? He wasn't Bob Dylan. Right, right. Right? Exactly. And so now you have the Bob Dylan biopic, which will make a great double bill with the Coen Brothers movie at some point. But that was sort of like my inspiration for the book, was like, what's it like to almost

grab the brass ring, but not quite, and then have to carve out a normal life for yourself after that? Right. And of course, many books have been written about femme fatales, you know, glorifying that kind of concept. And in that sense, your book is so different because there's a real stamp of realism, because you're talking to them now when they're older and there's a perspective and they can look back.

I thought it was unique, just such a unique hook and so enjoyable because I didn't read through all of the book yet, but I didn't even read through the full first section. I just took Jane Greer, I read her first part, and then I read her second part. I didn't jump to the next actress in the order there because I actually wanted to get that two-sided mirror kind of perspective right away. And I thought that was fun. I mean, a viewer can, reader can choose however they want to read the book. You've broken up very easily for that. But I think

that as a Noir fan, but somebody who kind of came to it a little bit later in my life, and I think a lot of people have done that, didn't grow up a fan of Noir as you age sometimes that becomes more and more something that for myself, I was attracted to those films. And so I don't know all the stories. And I don't know the stories of them even younger, unless I've seen the biographies on A&E or I've read some of the biographies as you mentioned. So I thought it was a great way to do it. And that part of the second part of the story, I wanted to ask you specifically, what was some of the joy and interest and things you found out in doing that? Stay with us, we'll be right back. show notes. That's a great question because, and I appreciate your saying that you can read the book any

which way. I've read it both ways. But the real joy I got out of it is that I learned so much from these women. And to me, it was more interesting talking to them about how they orchestrated their lives post-Hollywood than in Hollywood, because the part in Hollywood was pretty simple in that era, right? If you were chosen, if they touched you with the magic wand, you were pretty much taken care of, right? And I lucked out in doing this book because this was not a contrived thing. I didn't cast the book necessarily, right? I mean, the deal was the women had to still be alive and willing to talk to me, right? But the good news was like Colleen Gray was under contract to Fox and Audrey Totter was under contract to MGM,

Cotter was under contract to MGM, right? And Evelyn was at Columbia. And so, I just naturally got through their stories, I got pictures of these different studios and how they varied from each other. And the players were all different, you know, like Jane was at RKO and obviously had that really tumultuous situation with Howard Hughes there. And then Colleen let me introduce people to Daryl Zanuck and Tyrone Power and the people who were at Fox. So all that was really great, but it was the later stuff that really intrigued me. That's where like Anne Savage, her story in Hollywood and Anne was the star of arguably one of the most famous noir films of all time, Detour. But it's a B minus production and it

kind of backfired on Anne because while she's legendary for the film, it cast her in a mold that she couldn't break. And a lot of A-list directors passed on her because they saw her in detour and she scared them. And it was like, I don't think I want to work with that woman, right? So it was a bad thing for her career. And then her life afterwards was just an amazing story, you know, of fortitude and it was really one of the things that really came to the fore for me was how, you know, that generation, the women, especially women like this who are so beautiful and

they're movie stars and it's like, you know, they're the prize. Yeah. And so they marry these guys who treat them like, you know, put them on a pedestal and treat them so special and then they're never privy to what the husband is actually doing. Right. And this is a very common story. So there are a couple of instances where it comes as a big shock when it's like, we're bankrupt. You know? And like, how did that happen? And then how do you, you know, because that was Anne's story, right?

I mean, she just went along for the ride and her husband said, I'll take care of everything. And then little by little, it became apparent that they were hemorrhaging money. And when he died, Ann was broke. She had to go back to work. And at that point, she was in her 50s and it's like, she's not going back to work as an actress. So she ends up working as a docket clerk in a law firm in Los Angeles. But then Detour is still there, you know, lurking in the background, waiting for its revival is this example of noir. And then

it's great because the younger Anne comes back in Anne's life to like rescue her and give her this third act where she's recognized for this incredible performance. So, it was that kind of arc to the stories that really, really intrigued me. Yeah, it's fascinating and everybody has maybe their favorite films and their favorite actresses, but all of the stories are so insightful and I just thought they were great. Was there anybody that, I mean, you said the promener, they obviously had to be alive and willing to do an interview. Was there anybody that wasn't willing or wasn't alive that you just were like, you know, just slight disappointment on

that one? Yes, there were right off the bat, there were three additional actresses I was hoping to profile and to me, it was very interesting that this is not uncommon, I don't think. I wanted to interview Elizabeth Scott, I wanted to interview Claire Trevor and Rhonda Fleming and the three of them all escaped for interesting and different reasons. Claire was just not up to it physically. She had terrible emphysema and I did talk to her several times to interview her on the phone, but not in the depth that was necessary to do a profile of her. She's in the new edition because I didn't really get to interview her in depth, but I do profile her and her contributions to noir. And Claire was very, very wealthy,

very wealthy. And Rhonda Fleming didn't want to do the book because this is a funny story if you'll tell this real quick. I remember setting up a conversation to discuss the book with her and she asked me straightaway, Eddie, how many times have I been married? And I said, I said four. And she said, nope, nope, that's the wrong answer. I've been married twice, you know. And she said, I was married to Ted Mann and I'm married to Darryl, my husband now. And I said, well, Rhonda, it's like public record that you've been married that many times and I can't pretend that you weren't.

I mean, nobody's going to believe anything else we say then. And she says, well, then I'm not going to do the book. And the reason for that is because she was an amazing philanthropist, you know, and because of her marriage to Ted Mann, she too was extremely wealthy. And she didn't want to jeopardize any of her reputation as a philanthropist or anything. She didn't want me to, not that there was anything in Rhonda's background to be embarrassed about or anything. She just

didn't want to do it. And we became really good friends anyway and she appeared many times and donated money to restore one of her films that I was responsible for restoring. And then Liz Scott was just a recluse. she has skeletons in the closet that she didn't want to mess around with. So, she just said no. But it was interesting to me that the two women who were the most affluent, Claire Trevor and Rhonda Fleming, didn't want to talk. Whereas actresses like Anne, you know, who really had to scrape by, were more than happy to discuss their life story. That was kind of intriguing. RG Have you gotten some responses that stick in your mind from readers, from the actresses

themselves, because I told them going in that I wasn't going to show them anything, right? That was a requisite for cooperating with me is I said, look, I have to do this the way I want to do this and because there's six of you, if I say to one of you, yes, you can review the copy before I submit it to the publisher, then I am obligated to do that for all six. And I say, this is just going to slow everything down. I'm going to be answering to seven editors then. Yeah, right. And so I said, I'm not going to show you anything. You just have to trust me and accept that you'll be okay with the story that comes out

of it. And I'm telling you, Tim, the thing that I find most gratifying, not just about this book, but perhaps about in my entire career, is that they all were very pleased with the way the book turned out and their sections in the book turned out. And they felt like it was a very accurate and true depiction of their life story. To the degree that I was so pleased that Jane Greer's sons, who were very surprised that she told me the things that she did, but it didn't bother anyone. But they're very personal family.

There's some very personal family stuff there, especially. Oh yes. Oh yes. When there's a little... Well, I mean, Jane had a life threatening medical issue that was pretty traumatic that she did not really like to talk about because it left her literally scarred like horribly, horribly scarred. And she didn't want people to know that.

She didn't want people to know that, you know, gorgeous Jane Greer, you know, had this just miserable situation occur. And then, you know, her husband left her. And it was traumatizing for the boys, for her boys who were away at school. And that story had never been told. Right. And so they were kind of shocked. But in the end, when, when Jane passed away, I'm sorry to say, but the, the, her sons, uh, Albert and Steven and, uh, said, you know, we'd like to give away copies of the book at her memorial service just because just because we can't think of a better thing

to send people away with like, this was Jane. Wow. So that, you know, that means everything to me. Yeah. Now, when you revised this book, were parts of that first release revised as well, or were just more new photos and that kind of part. So there was nothing in the text of the six original profiles that was changed. That's pretty amazing.

Nothing. Yeah. I added the afterword to explain because I'm not in the book. I'm not a character in the book, which is a little tricky to kind of have this omniscient, you know, like I'm in the Evaluator department. It reads, because of that, it reads, it's not just like, hey, you know, you're reading a bunch of interviews. You tell it as a story.

We talked about the Norbar, you know, last year or so, but I had my little drink with me as I'm reading these because it was riveting, because it is written more as a story and less as an interview where somebody, you know, so Jane, what did you think? Correct. It's like you wove and you jumped time periods and you jumped and you added in the characters in the second phase of their lives, their husbands or partners and their children. And I thought that made it so much more of a good read. Thank you.

Thank you. I really appreciate that. And I want to give the credit for that to the women because I was able to do that because they granted me so much time and access to, I don't want to say live with them, but it kind of felt like that. You know, I spent a lot of time at their houses. I spent a lot of time. I would say, look, if I'm in town, because I didn't live in LA, right? So, I mean, it was like, I had to do this when I could. And I said, I'd like to go with you, you know, when you're doing stuff, you know, just take

me along and I won't be a bother or anything, but I just want to see your life at this point, you know, and experience it. So, like, I spent a lot of time in Evelyn's apartment and in Anne's apartment and Colleen's house, up at Jane's house above the Getty, you know. And so, I was able to describe them in their environment without doing it the way you see in interviews where it's like we sat facing each other over steamy cups of coffee and you know, blah, blah, blah. No, it was just like, I could describe Jane's day and take myself out of it completely. And, and I felt that was really, really valuable.

Yeah. Yeah. Well, the, the, one of the things you did revise maybe were some of the photos that were added because that's, I mean, it's at number one, it's a huge book. And so it works well when you have these full page black and white color reproductions of the photos. And I mean, the glamour shots, they're beautiful in here. And then of course, some of the other publicity stills and things. So that part, we're more added or...

Yes. And it's funny you mentioned that Tim, because that was one of the things I was most worried about in doing this new edition was that for the original one, this is deep in the weeds stuff here, but I'm going to share this with you. For the original one, the gals, as I referred to them, the gals gave me a lot of personal photographs to use, right? And these were, which are great, you know, Polaroids and candid shots and stuff, you know, they'd let me wander around the house and I'd say, oh, can I get it? Can I get this? You know, and they were very generous. But I had to give all that back, right? And I scanned it all.

Yeah. That was 24 years ago, right? Good luck accessing those scans with all the changes in technology. And I couldn't even find some of the, what do they call it? They had the disks that you would put in. And like none of that stuff works on the new computers, right? So

I was pulling my hair out. And then finally I said, hey, you know, they've had so many advances in the Photoshop technology and stuff. I said, I bet I can cheat and just scan the pictures out of the book and then enhance them to make them good enough to use in the new edition. And we cheated a few times with that. Yes. Well, I wouldn't know by looking at them because they turned out so well. And, but we talk about this whenever we talk about even film restoration, the equipment and the software these days is amazing.

And it just is next level in terms of what you're able to do with even your own family photos. I know when you go so far as to cheat and do an AI, which you can do now. You just say, show me a picture of Marie Windsor with the so-and-so in 1953. Just adding the contrast back in and trying to take out some of the dust or some of the scratches and things of that nature, the equipment and software that can do that is so good now. Yes. Like you said, that's a little bit in the weeds, but tell us a little bit about the newer section that you added to this book called Eternal Flames.

Well, this was, speaking very frankly, if Running Press was going to pay me for a new edition of the book, they wanted some work out of me. Sure. So it was like, we're not just going to reprint the original six, how about writing us, you know, 10 new profiles, which quite honestly, I initially resisted because I said, you know, they're not going to be anything like the six original ones when I had all this access. But then I thought about it and I realized, well, this is a great opportunity because I can choose actresses to sort of balance the stories out because the one common denominator my six gals had was that they lived to ripe old ages, right? And so

I said, well, it would be an interesting contrast to profile some actresses who didn't, right? Who were the classic stories of how Hollywood ate them up and spit them out, right? And so, you know, I don't want to spoil it because some people reading the book might not know the fates of some of the additional actresses that I profile. And I imagine for younger readers, that section, some of it will come as a shock, you know, because there's some pretty, you know, profoundly tragic endings for a couple of these women. But I thought that was really those stories enhance the tales of the women who survived right so it's like if somebody read and story and said oh that's so sad that she lost everything and had to go back to work and blah blah blah lost everything and had to go back to work and blah blah blah. My answer would be yeah, but she's not Gail Russell, right? Because Gail Russell had just a tragic end. And so

you can say something sad but then there's... Sure. Compared to this story, she had a perfectly wonderful life. Well, how'd you go about choosing those 10? Um, partly it was, well, in the case of Claire Trevor, Rhonda Fleming and Marcia Hunt and Jan Sterling, those are four of them, I ended up knowing them all as well. So it was like, yeah, you know, I feel very comfortable writing about them and what kind of people they were because I knew them. I mean, I didn't really know Claire, but I knew enough and I wanted

to give Claire her due as being, you know, a very important performer in film noir that is often overlooked, right? She, because she was, Claire Trevor was like between the status of Stanwyck and Joan Crawford and Ida Lupino. But she was a bigger star than Colleen Gray or Audrey Todd or actresses who are totally synonymous with noir. And the year that Stanwyck played in Double Indemnity, Claire Trevor played in Murder My Sweet and those two femme fatale performances sort of set the template for that character in the genre. So I wanted to make sure that Claire got her due. And then in other cases, it was like actresses who weren't getting their due, you know, like

Peggy Castle, who had a very brief career but a lot of it was spent playing this femme fatale character in 50s noir and so I definitely wanted to profile her and you know Joan Bennett who like Claire Trevor was another big star who in the 40s was that was virtually all she made was film noir movies right so I had to do a profile of Joan. And you know, it was like casting my own noir film in a way. Right. Did you have any surprises as you were going into these 10, the research for these 10 in terms of you thought you knew and then you found out something different? That's a good question. Yeah, I think that there were some surprises with the early lives

of some of these actresses like Ruth Roman and Helen Walker. What surprised me was how it's very interesting how people get into the business because there are some actresses like Ruth Roman where it's like nothing is going to stop her. So, I mean, she made up her mind when she was a child that she was going to be an actress. Like, you know, like she's and she changed her name because she saw it on a theater marquee when she was like six years old or something. And like her story is like this, you know, the myth of Sisyphus. She just kept pushing the rock up the hill until she made it, right? And then there are other actresses like Jan Sterling where it was just a virtual coincidence that she ducked into a building in New York to get out of the rain

and was spotted by a producer and said, I want to put you with this show. And then her career was like off to the races. I mean, she wanted to be an actress, but it just came so easily to her. So those stories are always kind of fascinating to me, like the moment, right? I mean, we love noir movies because there's always that moment, the turning point moment where they know, I shouldn't do this, but I'm going to do it anyway, you know? And in lives of these actresses, there was always that moment where it's like, oh, I wish this would happen and then here it is. Here's the chance, you know. Well, I'm enjoying it. I'm going through it. It comes out April 8th. So whenever you're listening or watching this, you can either pre-order or purchase it

at various booksellers online. And I'm sure you'll be selling it at the TCM Festival in a couple of weeks. So why don't we talk just a little bit about the festival. It's April 24 through 27. Grand Illusions, Fantastic Worlds on Film is kind of the theme or title for this year's festival. You'll be there. Do you know what you'll be talking about or introducing? It's an interesting... I just got my marching orders, in fact. Just yesterday, the email came through with my list of things to do. It came through on April Fool's Day and you... Oh, you're right, Tim. Maybe I shouldn't believe them. You never know.

I've got a double check today. But what's interesting is there isn't a lot of noir. You know, I think I have one film noir in the whole program and, but I'm excited. Well, that's not true. One thing I am excited about is I'm going to be introducing Blue Velvet. You know, very important that we include a David Lynch movie now that he has passed and I'll be introducing that with Kyle McLaughlin. So that's- Oh, fantastic. Yeah.

I'm very excited about that. I'm also doing a presentation. This is something I have looked forward to now for years. I'm doing a presentation with dan perry who is like the world's greatest title designer. For movies if you saw movies in the nineteen seventies you saw dan perry title design he did the exorcist to close encounters taxi driver. Nashville he did titles for all the major Hollywood directors in the 70s and beyond. And we're going to have a sit down talk with a big multimedia presentation on how he goes about creating titles for movies and how that all works. I'm very excited about that.

But you know, beyond that, I'm, I can't remember. Well, and you'll find out if it was a, if fools or not. No, I'm sure those are, those are true. Well, I saw what the title Grand Illusions at that. Well, you know, there might be not as, as much more this year as there are in some years, especially when it says fantastic worlds on film. It sounded a little bit more leaning toward that. It's like fantasy and science fiction. Fantasy and science fiction, yeah, and things of that nature. So that's great. And I think the kickoff of the festival is Star Wars, is it not? Correct. Yeah. Empire Strikes Back.

Yeah. So it kind of gives you the get-go there, letting you know what kind of the focus is this year. But it's always great to see the films there at the festival and it'll be good to see you there. People can look for your book as well. I'm sure you're going to be doing a signing. Yes. That's my first, it was orchestrated this way. It's my first signing of the book will be at the TCM Film Festival. They made me promise I wouldn't do signings in advance of the festival. So we could say that that was the first big one, kicking it off. Yeah. So those living in LA and coming, and or flying in to come to the festival can look

for that on the schedule. But otherwise you can order the book from your favorite retailer. So, well, I'm having great fun with it. Like I said, I get myself, pour myself a little drink and I sit down and I read a chapter and it these are pretty long chapters. So they take a while and they're very engrossing and I guess it's not a chapter. It's a, it's a section or a part of the story. I called them chapters. Yeah.

So it's a great book. Well thanks for coming on today. It's always great to talk with you. And I know the listeners and everybody loved the work that you do. So congratulations on such an amazing career that you're having. Thank you. Thank you, Tim. I appreciate that very much. I appreciate the opportunity to talk about the book and I appreciate the fact that you read the book. Yeah, we are reading the book book. And I appreciate the fact that you read the book or are reading the book. Because sometimes I do these, you know, it's interesting. I like people who do podcasts and radio shows a little bit more than the people who do TV. Because when you do TV, you know that they

haven't read the book. You're lucky if they read the press release, let alone just a blurb. But no, it's, you know, look, why talk about the book if I'm not enjoying it? That's part of it. But also, it's a 300-page, roughly, book. There's no way I was able to read all of it before our discussion. But all it takes is reading the first, just one of the profiles, and also some of the new sections, the Eternal Flames, to get a flavor for it and to know that this is an engrossing fun and a great read. So thank you so much. Thank you.

I hope you enjoyed that discussion as much as I did. That was a lot of fun. I highly recommend the book Dark City Dames, The Women Who Define Film Noir. This new revised and updated version is a terrific addition to your library and I think you'll really enjoy reading it. Until next time, you've been listening to Tim Millard. Stay slightly obsessed. Hey, Tim Lard here, host of the X-Files podcast and I just saw the day the earth blew up a

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over at Warner Brothers Animation they really put their heart and soul into this and they really wanted to say true to the Looney Tunes ethic that was established back in the 30s and 40s in the classic days of Looney Tunes and Looney Tunes means so much to Warner, so it was great to see the work that they did in this film. And Daffy, Porky Pig are the stars of this show. There is no Bugs Bunny. Toony Pig is also in there, but if you enjoy those characters, they are very fun,

and it's a great teaming up. But it's a lot of fun if you've been thinking, I don't know, do I wanna deal with the hassle of going to the theater? You know what, if you're a fan of Looney Tunes, I hope you will, because this film does need your support. It doesn't have a big budget. It has not had the marketing budget

that typically would go into a Warner Brothers release, because it is being distributed by Ketchup Entertainment. So I hope that if you are a Looney Tunes fan that you will go out and support this film. You'll go to the theaters and already the film is being released on Blu-ray here in the United States at least. I know it's only in the theaters here in the United States but go to the theater support it if you enjoy it then buy the Blu-ray that pre-order is ready it's gonna be coming out sometime in May but please get to the theater support it there that always helps the downstream release on Blu-ray but it also will help Ketchup Entertainment know that they can take this to Europe to the UK and to the rest of the world where I know there are so many Looney Tunes fans as well. I think you'll really enjoy it and you'll have a good

time enjoying seeing some of your favorite Looney Tunes characters on the big screen.