An American filmmaker, musician and songwriter who has released over 23,000 songs — probably more by the time you read this — Matt Farley is a creative giant that you may not know but totally should. I discovered him through his films and was stunned that his phone number appeared in the autobiographical Local Legends. Our text conversation led to the interview you’re about to read:

B&S About Movies: I always feel like there’s a finite well of movies and I worry, “Am I going to exhaust movies that are interesting?” It was amazing finding this huge block of your movies at Fantastic Fest. I’d never seen any of them before and it was like diving into the deep end of an entirely new obsession with no set order of how to start absorbing them.

Matt Farley: Everyone’s got their own journey. One thing I find is that people’s appreciation for the movies just goes up. With each one they watch, whatever they watch first, they’re kind of saying, “I’m not sure what to make of this.” And then a few movies in there like, “Okay, now I get it.”

B&S: I started with Metal Detector Maniac. I had no idea what it was going to be about and it felt like a hang-out film and then, all of a sudden, it switched up on me.

Matt: We tried to be a little sneaky about that.

B&S: In Local Legends, you discuss how audiences get upset because they think that you’re making a horror movie and you’re not. Does that reaction still happen?

Matt: Well, in the last few years, starting with Metal Detector Maniac, we’ve kind of have a different approach. Maybe there are on board. With Freaky Farley, we pushed it as a slasher even though we think it’s hilarious to sell that movie as a slasher.

B&S: What movies did you have in mind when you were making it?

Matt: Halloween and Friday the 13thwere definite but we also wanted to go deeper. Like The Pit, which is a weird Canadian horror movie. Silent Night Deadly Night Part 2, I’m a really big fan. It has a similar structure to that.

B&S: It reminds me of 70s pre-slasher movies. Regional horror. It’s just as much about the town that he lives in. Maybe more so than it is about him because you wonder, what’s beneath the surface of it?

Matt: Yeah, the director Charlie (Roxburgh) is a big fan of movies like The Horror of Party Beach.

B&S: I’m amazed at the level of your creative output. Has it always been this way or did you learn how to harness some special way of figuring out how to make things?

Matt: It’s definitely developed but I was writing novels in fourth grade and as soon as my family got a video camera I was making movies with my friends. Playing the piano, I started writing songs in my teen years, I definitely wasn’t as prolific but definitely I already had the obsessiveness the same then as it is now.

I just kept refining my approach and kind of figuring out what works and what doesn’t work. You know, it’s easier to write and record a song than it is to make a movie. There’s a lot more streamlining and refining necessary to keep making movies. If you can find an hour, you can rattle off a song. But to make a movie is soul-crushingly time-consuming, you know?

Charlie and I met in college and we were making movies. Whether consciously or not, we were kind of figuring out our method, especially because we’re working with people who are not not being paid. So much of the process is figuring out how much you can expect from a person before they stop answering your phone calls. (laughs)

It’s just always just been my dream to be constantly creating things and and then I guess, you know, the adult part of my life has been figuring out a way to do that while still being accepted in my family and community.

B&S: I get “Do you ever slow down?” from people. And no, why would I? I have a mindset that just always wants to be making things.

Matt: Yeah, absolutely. ‘m always like, “Oh, wouldn’t be cool if we could do this or if we could do that?” And that’s the easy part. The hard part is actually figuring out a way to do it.

B&S: Most people have one creative thing that they’re known for. You’ve kind of integrated so many different talents. There’s this whole music side and there’s the whole movie side and like sometimes they cross over. I find that fascinating.

Matt: I have these albums that I call the No Jokes albums, which are not songs about poop or dumb songs about cities. They’re just good songs. But they do have jokes in them or comedic weirdness, you know, and I think those songs kind of compare to the movies. There’s no movie equivalent to the poop songs. I wish there was! I wish we could churn out some novelty movies that actually made us money but we haven’t figured that one out yet.

B&S: What surprises me is that you made so many movies in so short a time. Magic Spot, Heard She Got Married and Metal Detector Maniac all came out really close together.

Matt: We’re currently trying to do two movies a year and that started in 2021. So it was Metal Detector Maniac and Heard She Got Married and then this year is Magic Spot and Boston Johnny. And then we’re gonna keep on pushing. It’s kind of applying what I do with the music a little bit to the movies. Let’s really put our foot to the pedal. One of the things for the music is that like, it’s like, be undeniable, like get to the point where people don’t even want to find my songs and they accidentally do and they’re just, “Oh God. It’s that guy again.” (laughs)

I keep on creeping up in people’s feeds or in their searches and whatnot, as a way to just be like, “Gosh, darn it worked music world. I won’t let you ignore me!”

So we’re trying to apply that to the movies. It’s just that it’s so time-consuming making a movie that it doesn’t quite compare but in terms of getting noticed by people who pay attention to movies, I think you can work in that way. Where you know, just enough people start talking and say, “Oh, these guys are doing two movies a year. And I think I think they’re pretty good too.”

I guess our secret advantage is that like the previous 20 years, we were making movies quite a lot. And so we’ve gotten to the point where we have a lot of people who we know want to act with us and we know what they’re good at and we can write parts specifically for them. We know a bunch of different tricks of how we can make it seem not quite as low budget as it is Charlie and I are willing to lug lots of equipment, just the two of us, deep into the woods and get some cool shots and some things that you don’t normally see in a lot of indie movies. A lot of indie movies just take place in an apartment. We’ll push ourselves in that way and hopefully people appreciate it.

B&S: I always hear the complaint about indie films that, “Oh this would have been better if we had the budget.” I know you’d like a larger budget but I feel like the heart of your films would be different.

Matt: One way that a budget shows is when people reach too far. The example I always use is they have a scene in a hospital and they don’t have enough money to have a hospital. It’s gonna show, you know? If you’re just doing it in like a bedroom and you don’t have like all the equipment…

We try to work within what we have. And if we are reaching a little too far, that’s when we’ll poke fun at ourselves and just be like, “Alright, we know this doesn’t quite look like what it’s supposed to be, but we know it.”

B&S: You guys must have a secret language now so that you can communicate that to one another.

Matt: Before we write a scene, the first question is, “Are we going to be able to film it?” That prevents heartbreak down the road. Don’t even think about that overly ambitious idea because it’s going to break us. Have you seen something Slingshot Cops yet? We got a little ambitious. There are seven or maybe eight characters all together at the same time and get so many people to my house to stay for that long to get the shots done and then keep them quiet when they’re not in the shot, then to get them to say their lines and to feed them… (laughs)

That’s why these last three movies have been a little bit more like more refined in terms of the number of characters.

B&S: It doesn’t come across like you’re penny pinching, though.

Matt: Yeah, it’s nice and creative. It’s nice because we both grew up in suburban neighborhoods with woods behind it so we have a soft spot for that kind of location. For the most part, no one bothers you out in the woods. If you’re trying to do a scene on a busy street corner, you could be kicked out by the cops and they’d be like, “Hey, do you have a permit? Get out of here!”

The woods are nice and no one bothers us. And then we know the alleyways where nobody cares if you’re filming, which is nice.

B&S: So many of your movies take place in small towns with different names, but each of these towns by and large seem like positive places. Magic Spot feels like Americana, the whole song that your character writes about why his hometown is so important to him and why she should stay. Yet Heard She Got Married is the inverse side of that, it’s the darkness of a small town. I really love that and feel like small towns can encompass light and dark sides.

Matt: Charlie brought up a year or so ago that there’s always like a magic spot in a town and there’s always also an evil spot, you know? And so we’ve obviously been exploring that concept, the scary spot where the spooky kids hang out. Then there’s the magic spot where good things happen. So we’ve been doing that. The second movie we’re making next year is called Evil Spot. It’s a spiritual sequel.

B&S: I know that we grew up in different places, but there was a place like the Cathedral in Heard She Got Married in my town. I really felt the way the main character does in that when he comes home and sees all these old places that used to mean so much to him. I get wistful now seeing those places as those memories get further away, as you drive past them, they’re in the rearview. I love the problem of coming back home, thinking you’re going to conquer the scene and no one comes to your show. As someone who has lugged Orange amps up multiple flights of steps to play for ten people in a coffee shop, I get that too.

Matt: We did a Freaky Farley screening in New York City three days ago. And there were a few people who told me the same thing about Heard She Got Married. Specifically, there’s a scene where I’m at the bottom of the steps talking to the mailman.

That concert scene it’s funny because I really said my line. “There were only eighteen people there but did you hear them singing along?”

People were like, “Man, I felt that.”

It’s definitely a movie for bloggers and podcasters and people who are trying to keep the creative spark alive. You know, even at an age when people say, “Why are you still doing this?”

People might not say those words to me but I can feel it coming. (laughs)

What’s funny about the eighteen people is when we filmed that scene, we didn’t specifically want eighteen people at that show. It was October 2020, with things shut down and people weren’t traveling that far. That’s why we did it in an apple orchard because indoor venues weren’t really an option.

When only eighteen people came, we wrote that into the script.

It was double exciting, for me at least, because Charlie couldn’t come for that. I had two cameras and I gave them to two audience members who knew what they were doing with cameras more or less. I was like, “Guys, I want you to film. You do more close-ups. You do more wide shots. Be a little bit frantic. A little, like, go back and forth. See, you know, to kind of match the energy of the song.”

We only performed that song once but I was very pleased with the camerawork and the performance.

It’s fun to lend real life into the fiction.

B&S: I love that he thinks his songs have obscure meanings but his ex-girlfriend says, “Please stop writing songs about me.”

Matt: Yeah. Mitch Owens is an open book. He’s very petty. You know, he locks the gåçuy in the basement for a minute, just to remind him of how he was locked in the basement at the beginning of the movie.

That scene, I can feel it too. I do this annual show called the Motern Extravaganza. The next one is May 20, so keep that in mind. I mean, people come from hundreds, even thousands of miles away. We’ve never had more than a hundred people at any of these shows. So it’s a little frustrating every year. I’m like, what we’re doing is so cool. Why aren’t more people coming? This doesn’t make sense. But then on the flip side, it’s like, who cares? I mean, most people know that we’re not quote unquote a real band in terms of being signed by a label and blah, blah, blah. I think we’re doing better than most weekend warrior ockers, you know. Which is the level that we’re at, and so it’s like, hey, for weekend warriors we’re doing okay.

B&S: If you break even, you’re winning.

Matt: Frankly, just being able to have the time and the equipment to do creative stuff, if you have that you’re winning. Yeah, absolutely winning. That’s the way I look at it.

B&S: Back to movies, what filmmakers influence you?

Matt: We were just big horror fans and liked slashers. We love the look and the feel of it. We’re not that big on violence. Like once the killings start, it kind of gets boring. We like all the interaction between the weird characters before they start getting killed off, you know, with the occasional POV shot from the bushes here, the little spooky music there just to remind you that this is a horror movie.

We respect the low budget mythos. There’s a movie called Curse of the Screaming Dead which was filmed in Maryland in the early 80s. There are shots that maybe the filmmaker is embarrassed by, maybe he wishes it was better, but I know that if you want a movie to be perfect, you’re never going to finish your movie. You have to just accept that it’s never going to be exactly what you envisioned and there’s always going to be, audio problems, video problems, acting problems, a cat jumping across the screen in the middle of a shot.

Those are the influences and then in terms of more mainstream stuff, Charlie’s a big fan of Pee Wee’s Big Adventure and I am too. He loves the show Get A Life with Chris Elliott. Wes Anderson, you know, we were big fans of his movies when we were in college. Pulp Fiction is a great movie.

B&S: Your movies aren’t beholden to just one genre.

Matt: Yeah, like when the girl says starts dancing, doing the pop dancing to the acoustic guitar and they’ve just met and she’s like, “I haven’t showered in a while. Can I stay here?” We’re just acting as if this is all normal. I just want to hang out in this world and check in with all these characters in their ridiculous drama. And then like, then there’s the perfunctory river beast attack. (laughs)

B&S: Thanks to the William Castle introduction and the flashes, you know when the river beast is coming.

Matt: The Riverbeast would not be scary to anyone. Like a two-year-old can watch it and not be frightened. And here we are with this distinguished man warning the people.

When horror was so popular in the 80s, there was a lot of repurposing films. Movies might have been a drama with one scary scene, but they’d put some blood on the cover and see if it sells. I mean, it’s not nice of them to do that. But I almost always responded to those films.

B&S: That was the era of the video boom where they just needed product.

Matt:  I love that because there are lofty artistic goals but then there’s just practicality. And I love when those two meet because, you know, you can feel disillusioned very quickly. Have you seen Local Legends? I got the boss version of me yelling at the artist me and and I definitely have like poking fun at lofty artistic people because as bad as a CEO might be, they just want to make money. We just want to make money too, you know?

B&S: Do those older horror movies feel more authentic?

Matt: Yeah. No shame and they’re just like, “Hey, you want to see a bunch of teenagers killed in the woods” Here you go.

B&S: They often would make a movie and run it for ten years under different titles. You’d show up at the drive-in and maybe see the same movie you already saw. Or maybe you didn’t care because you were showing up to get in the back seat.

Matt: That just shows the futility of everything. (laughs)

But then it’s freeing. It’s actually freeing. If you can get past that sadness, then it’s just like, oh, I can just follow my muse and just like do my thing and who cares? No one’s watching. So wonderful! Like, you know, if someone happens to like it, then wow, what a delight! We go into it expecting very few people to watch it and so we can just make it exactly how we want to make it. It’s so nice.

We don’t get any notes because no one’s paying us to do this. Doing two movies a year, we can say, “What if we did a movie like this?” We’re only gonna spend six months on it. Let’s just give it a try. Maybe everyone will hate it. And if not, then there’ll be another movie a few months later.

Movie equipment is pretty cheap. More people could be doing what Charlie and I are doing. I guess there are a lot of indie movies out there. We’re in the Northeast and we’re kind of like making the Northeast part of the vibe of the story. I wish more people would do that in other parts of the world.

B&S: You’re showing the rest of the world your hometown.

Matt: In Local Legends, there’s a scene where I’m being interviewed and someone asks my character, “Are you gonna go to Hollywood?” And I say, “No, I want to make them come to me.”

In another scene, we’re talking about if we were billionaires we could buy an NBA team or something but then I was like, “No! If we’re billionaires, let’s start our own league and force people to come to us.”

It’s slower. If you’re doing it the way I’m doing it, you know, this whole make them come to me…you know, I’m probably not too successful with it. But life is long. So maybe by the time I’m like 90, they’ll be coming to me. (laughs)

B&S: It allows you to document where you live and share it.

Matt: People always ask what junior beef sandwiches are. When people visit, they ask, “Why is there a roast beef shop on every corner?” It’s just a hamburger roll with a big pile of sliced roast beef and then some toppings if you want, but I was like, “Wow, like, you know, you grow up around here and everyone knows about junior beef.” We got the junior beef, the Magic Spot, the beach pizza, which is even more localized. There are only two beach pizza places that I know on Earth that have those square pizzas with a slice of provolone on them. It’s very strange.

B&S: We have a pizza here that they cook the crust and then put tomatoes and a pound of mozzarella in it. Cold mozzarella.

Matt: I want to try it but I think I don’t know if I like it! I like when you go somewhere and everything is corporate and globalized but you can try something that you can only get there. I like the second option.

A few years ago, we offered a walking tour in Manchester where Charlie and I would walk you through all the different spots we shot and we printed out pictures of the stills from the movie so people could compare it to a location. Three people took us up on the offer. We had arranged that different actors in the movies would be waiting at different spots around town. We’d round the corner and say, “Hey, it’s Jim Farley, the actor who played Ito Hootkins in Don’t Let The Riverbeast Get You!” By the end of the tour, there were more tour guides than there were people on the tour. But it was fun.

B&S: We started talking because I saw your number in Local Legends and I was watching you on screen and talking to you at the same time. That’s the most interactive I think a movie will ever be.

Matt: Let’s make life more interesting. Wouldn’t it be cool if movie directors put their number out there? The idea came from Curse of the Screaming Undead. Charlie and I watched it and in the credits, they listed a store where they got their supplies with the phone number. I called it but it was out of service. From that point on, I was like, “Charlie, put my number in the credits.”

B&S: How much of that movie is true?

Matt: The story arc is more imaginary but it’s kind of like every little thing is based on actual experiences I’ve had. I mean, I did hire a girl to take the stats of my one on one basketball games. I mean, she was friends with us so it wasn’t out of left field. Otherwise, she didn’t resemble the character at all.

The Billy Joel situation happened in college. For real, a girl invited me over to see her Billy Joel collection and she only had Greatest Hits. So I was like, “Okay, I gotta use that you know?”

In essence, it’s incredibly realistic and my wife plays the girl I end up with. That’s not how I met her. But I definitely offered her a free DVD I’m sure shortly after I did meet her. (laughs)

B&S: I’ve totally had music moments like that that soured me on a date.

Matt: But you wouldn’t shun them, right?

B&S: I would. I ended up marrying someone that doesn’t listen to anything I like and she listens to a lot that I don’t like. So that’s maybe that’s true love right?

Matt: Opposites attract.

B&S: In that scene, you’re confronted with someone who experiences music differently than you. And you’re thinking, well, there are so many more albums than greatest hits. The Stranger has four out of ten songs being singles and like, seven of those nine are on the radio right now somewhere. Albums had so many singles then, like Rumors is all hits.

Matt: I was at a food truck place and “Dreams” was playing on the speakers and I was just like, “Man, this song they got it.” You know, sometimes I rail against spending too much time in the studio and perfecting things, but I’ll confess Lindsey Buckingham, he did a good job on that one. So it’s like, sometimes it’s worth it.

B&S: There’s like, maybe a self-inflicted pressure to like cool independent things and it doesn’t get more mainstream than Fleetwood Mac. But they’re so good.

Matt: It gets to the point where it’s so mainstream that suddenly it’s rebellious to like them, you know. I personally have a soft spot for early 80s easy listening because that’s all my parents had playing on the radio when I was growing up. I had no choice. Not that I’m known as being very edgy, but I’m even softer than my persona.

B&S: I grew up with my parents playing a lot of Barry Manilow.

Matt: I was afraid you’d look down on me! (laughs) I really love “Weekend In New England.” (sings) “When will I hold you again…”

On the flip side, I’m a big Bob Dylan fan. Unlike Fleetwood Mac, he’s very much let’s just go and try to capture some magic. For several reasons, I subscribe more to that approach when I’m making music. I don’t have the luxury of a sleek studio that I can use for months at a time. Luckily, you know, there are moments when a band just captures the magic on one take and that’s what I aim for mostly.

Maybe if I spend six weeks on it, maybe it would be 1% better, but that’s not a good use of six weeks.

B&S: How do you get everyone to be in your movies?

Matt: We were filming Boston Johnny with Kevin McGee. In all our movies, we tried to like, you know, pay him back any way we can. And so this time, he said, “I gotta close the pool after we film. Can I get a little help.” So, you know, we’ve filmed for four hours and then he gives us some nets and we’re skimming the pool. We’re dragging tarps and tying things together. And it was hilarious.

B&S: Kevin is a big star amongst fans of your films.

Matt: I only knew him a little while before we started filming. He’s a bodybuilder. So like, he’s an imposing force. He’s a tall guy. He’s athletic. And so we kind of work that into it and so often he gets to play the villain because of that. He can keep that straight face like nobody else and deliver a line but what some people might not know is that the rest of the time he’s joking. The way he’s portrayed on screen doesn’t really match the way he is.

We know what he’s capable of. People like him. And it’s fun to take a guy who lives out in the suburbs and be like, “We’re going to make you an independent movie superstar.” And it’s been happening!

He ended up flying down to New York for that screening on Thursday night. We had so much fun, because he’s been so generous with us with his time. So many years, just us showing up at his house, and he doesn’t get that much out of it, you know. But for him to see an almost full house loving it and then he’s up there doing the questions and answers and posing for pictures with people.

This is great. I’m so happy that he gets to see that because he’s not online that much. He’s not reading reviews or anything like that.

B&S: People were tweeting that he was coming to the screening.

Matt: It’s great. Why do we pay attention to Timothée Chalamet? Yeah, like he gets enough attention. Pay attention to Kevin McGee.

B&S: Do you still put out DVDs and CDs for people to find?

Matt: I mean, I’m running low. So I don’t do it quite as much as I used to. And frankly, like, you give someone a DVD and they’re like, “Oh, what do I want this thing? Like, is it streaming?”

I’ve definitely put down thousands of DVDs and CDs over the years. Ten to fifteen years ago, there weren’t many options of getting your stuff out there. So I’d go to where those weekly newspapers were, open it up and put a DVD in there. People that read those are into arty stuff but the response rate was very low.

Some people had gotten in touch with me and some got in touch with me like eight, ten or twelve years after the fact. You know, I got this DVD, it sat on my shelf for seven year and I finally watched it.

B&S: Do they give you advice on your movie like the guy in Local Legends?

Matt: That’s 100% a true story. 100% it actually happened. And I couldn’t. I mean, I was loving it as it was happening. I was like, “Oh, this is so great. I gotta put this in the movie some da.” Literally as he’s talking to me. Charlie and I were talking about it and people have no qualms about stating their opinion. Right? And yet when you’re trying to be nice, it’s even worse. When you can tell they hated it and they’re like, “Well, it definitely seems like some people would possibly enjoy the thing that you made.” Because they can’t say I liked it.

B&S: Like your relatives who gave you the book on how to make movies.

Matt: I was really happy with that. Just to be able to bring that back. And it’s funny to think that the businessman side of me is suddenly like, “You know what? We need a character arc.” I love that.

B&S: What’s next?

Matt: Yeah, we’re gonna keep it up. Definitely. I mean, we’re pretty much within days of being done with Boston Johnny and then editing. We’re doing a secret sequel next spring. I’ll won’t tell you what it is until May 20 when we premiere it at my extravaganza show. Nobody’s guessing it. It’s a sequel that no one’s expecting which is great. And then after, we’re doing Evil Spot in the second half of next year. And then Evil Puddle. I mean, just the title. It’s like, who cares what’s in the movie! Just to have made a movie called Evil Puddle, which was my wife’s suggestion. I was telling her about that Evil Spot and Magic Spot. And she was like, “What about an evil puddle?” I sent Charlie a text immediately! Charlie: We got to make a movie called Evil Puddle. (laughs)

It’s gonna be kind of a going back to the more ensemble Riverbeast style, you know, where it’s not just one evil puddle. It’s several and so we can check in with different characters. It’s going to have elements of a disaster movie. And I guess to have like, all these different characters in high drama, you have to get to the drama of each character as quickly as possible. We love that Hallmark TV movie style, like shorthand. And we’ve been studying that and studying disaster movies. They’re due for a revival, you know?

What we’ll usually do for something like that is my character will be the one who interacts with everybody, because I’m obviously always going to be there for filming. You write a scene that involves three people, like the odds of getting all three people in the same place at the same time are very slim. And then if you need those people for additional scenes, I mean…we’re not in our twenties anymore where our friends are just hanging out watching TV and we can show up at their house and be like, “Hey come out and do a scene.” Now they have to get babysitters. So it’s a lot different.

B&S: The secret is that the worst part of getting older is all the planning.

Matt: Yeah, it does. Absolutely. But one thing about making the movies is like, we wouldn’t see each other period without the movies.  I wouldn’t just say to my wife, “I’m gonna go walk around with Charlie.” He lives three hours away. I can’t tell her, “I’m gonna go spend a day walking in Connecticut with Charlie.” Like she’d be here taking care of the house and I’m leaving her to walk with your buddy. But if I say, “I’m going down to walk around with Charlie, but we’re gonna have cameras with us and filming scenes. Then it’s okay.”

B&S: The end of Heard She Got Married has a long walk away and it’s pretty heartbreaking. It really got to me.

Matt: We had a vague idea of doing that. When we were at the place, Charlie realized he could climb up the mountain or the hill to a certain level. It had the Cathedral building, a bunch of rocks and power lines. And with us growing up in a place like that, we knew the power lines are the places where kids hang out. It’s where you see Ozzy Osbourne spraypainted on the rocks. Charlie saw the place, knew he could shoot that and it matched the vibe. In the song, I’m even singing about wanting to leave town but not wanting to leave town so it matches.

B&S: Where should people go to get your movies?

Matt: You can go to Gold Ninja. They’re amazing and I’m a big fan. You can get Local Legends, Don’t Let the Riverbeast Get You! and Metal Detector Maniac from them.

We’re gonna get the most money if you purchase a movie on Vimeo. I think the most expensive ones are twelve bucks on Vimeo and then some of the older ones are a little cheaper. So if you want to support the cause, just get it to get it from Vimeo and just keep in mind, you probably spend $15 on movie tickets for a corporate movie and then they want you to buy the DVD when it comes out and then you might buy it again on a streaming service. You’re very supportive of corporate entertainment.

Somehow it feels different when you’re in a face-to-face, person-to-person situation. People sometimes need to be reminded to go the extra mile and that it’s okay to spend twelve bucks on a Vimeo. That represents a month of Netflix, I know, but you’re supporting independent creators and it’s handmade. That being said, we’re total suckers and we just want people to watch them. So if Tubi is your best option — Freaky Farley and Monsters, Marriage and Murder In Manchvegas are there — we do make a little bit of money off it.

If you can afford it, get it on Vimeo or Gold Ninja.

If you can’t afford it, check it out on TV or something and we’re grateful.

For more information on everything Matt Farley, visit the official Motern Media website.