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William Stout: The Pinball School of Career Planning · Movie Meltdown

• 0:00
  Speaker 1: Hi, this is William Stout. I'm really happy to be
• 0:02
  Speaker 1: here on Movie Meltdown. We're going to talk about my
• 0:05
  Speaker 1: career as a production designer, as an artist, illustrator, lots
• 0:09
  Speaker 1: of other things. So stay tuned.
• 0:12
  Speaker 2: This episode is rated M for Misty. Yes, that's right,
• 0:15
  Speaker 2: this is a Misty episode, so it will be laced
• 0:17
  Speaker 2: with profanity even more than usual. If you're not comfortable
• 0:21
  Speaker 2: with this level of profanity, perhaps this isn't the episode
• 0:24
  Speaker 2: for you. But we have many other episodes to choose
• 0:26
  Speaker 2: from that do not feature Misty and will probably be
• 0:28
  Speaker 2: far less offensive. Okay, maybe. That having been said, on
• 0:33
  Speaker 2: with the show.
• 0:34
  Speaker 1: It's showtime.
• 0:35
  Speaker 3: Our nuclear reactor.
• 0:37
  Speaker 4: Pumping out one million kilowatts of power.
• 1:05
  Speaker 3: To provide more cooling in the containment chamber.
• 1:07
  Speaker 2: To your stations, we.
• 1:08
  Speaker 1: Have a movie meltdown.
• 1:10
  Speaker 5: Ha ha ha. That's so funny.
• 1:11
  Speaker 2: The last time I heard that, I laughed so hard
• 1:13
  Speaker 2: I fell off my dinosaur.
• 1:24
  Speaker 1: What's up?
• 1:24
  Speaker 5: Welcome to Movie Meltdown.
• 1:25
  Speaker 2: I am Brian.
• 1:26
  Speaker 3: I am Misty.
• 1:27
  Speaker 5: And we are coming to you live via digital recording
• 1:29
  Speaker 5: from Wonderfest.
• 1:30
  Speaker 3: Hell yeah, we are.
• 1:31
  Speaker 5: The return to Wonderfest.
• 1:33
  Speaker 3: How many years has it been now?
• 1:34
  Speaker 2: A thousand.
• 1:35
  Speaker 5: It is the 28th year of Wonderfest, though.
• 1:39
  Speaker 6: So take that, all these other ones. You know, there's
• 1:42
  Speaker 6: one or two old school ones that have been around
• 1:44
  Speaker 6: for a long time, but compared to most of the
• 1:46
  Speaker 6: conventions out there that have been around like.
• 1:49
  Speaker 5: Three to six years, like this is pretty hardcore.
• 1:53
  Speaker 3: Yeah, my mom reminded me again today about her wedding
• 1:56
  Speaker 3: and the postponement that had to be taken into consideration when.
• 2:00
  Speaker 5: Why you must mess up other people's lives.
• 2:03
  Speaker 3: It's not my fault you chose the day that George
• 2:06
  Speaker 3: Romero was going to be at Wonderfest.
• 2:09
  Speaker 1: Priorities.
• 2:11
  Speaker 6: But before we get into that, it has been quite
• 2:14
  Speaker 6: a while since you've been on.
• 2:16
  Speaker 3: I went on Epic Adventures.
• 2:17
  Speaker 6: Because some people, as mentioned on a previous episode, everyone
• 2:21
  Speaker 6: else in the show gets to roam the world and
• 2:24
  Speaker 6: do cool things. First, before we get to your trip,
• 2:27
  Speaker 6: let me just say, When I was growing up, as
• 2:30
  Speaker 6: I was a kid, I planned this epic trip that
• 2:32
  Speaker 6: I wanted to take. It was like right around the
• 2:34
  Speaker 6: end of high school. And I was like, man, I'm
• 2:36
  Speaker 6: going to have a car and I can drive and
• 2:38
  Speaker 6: I can go do cool stuff.
• 2:39
  Speaker 5: None of which ever happened.
• 2:40
  Speaker 6: And then I was like, I went so far as
• 2:42
  Speaker 6: to like map out this big thing that I wanted
• 2:44
  Speaker 6: to do, which was drive.
• 2:45
  Speaker 5: Route 66 and go to the end and hit West
• 2:49
  Speaker 5: Coast and see cool LA stuff. And so much so
• 2:52
  Speaker 5: that I like went to the library. This is how
• 2:53
  Speaker 5: long ago it was. I had to go to the
• 2:55
  Speaker 5: library and get books.
• 2:55
  Speaker 7: The library.
• 2:57
  Speaker 6: So there were books of like weird stuff that you
• 2:59
  Speaker 6: could see on the way and I could stop on
• 3:00
  Speaker 6: the way and I could see that bar that Jerry
• 3:02
  Speaker 6: Lee Lewis shot a dude in, which is a true story,
• 3:04
  Speaker 6: by the way.
• 3:05
  Speaker 5: And I had all this stuff mapped out of like
• 3:07
  Speaker 5: cool places to stop. Guess what?
• 3:09
  Speaker 6: I haven't done any of that, by the way, because
• 3:11
  Speaker 6: somehow since high school, I've been poor every day of
• 3:14
  Speaker 6: my life.
• 3:15
  Speaker 5: This sucks, really.
• 3:16
  Speaker 1: So.
• 3:16
  Speaker 5: That having been said, hey, Misty, what'd you do?
• 3:20
  Speaker 3: We did the awesome things that you will never do.
• 3:22
  Speaker 5: You suck.
• 3:24
  Speaker 3: We didn't do it. We didn't do the complete version.
• 3:26
  Speaker 3: We picked up, we went to St. Louis and hit
• 3:29
  Speaker 3: Route 66 from there through most of Missouri before we
• 3:32
  Speaker 3: realized that, holy shit, we did not take into account
• 3:35
  Speaker 3: the actual driving of Route 66. And we had like
• 3:37
  Speaker 3: a deadline. So we're like, all right, well, let's jump
• 3:39
  Speaker 3: back on. Was it 40 or 44 or whatever it is.
• 3:42
  Speaker 3: And we saw most of the awesome stuff, so we
• 3:44
  Speaker 3: didn't skip out on all of it, but we had
• 3:47
  Speaker 3: the special maps.
• 3:49
  Speaker 1: Special.
• 3:49
  Speaker 3: Special. It had the certain attractions that you don't want
• 3:53
  Speaker 3: to miss, kind of like the Blue Whale. You don't
• 3:56
  Speaker 3: want to miss the Blue Whale.
• 3:58
  Speaker 5: I suppose not.
• 3:59
  Speaker 3: And just different stuff, places that the... movie cars was
• 4:04
  Speaker 3: based sort of off of like some of those destinations
• 4:06
  Speaker 3: and like.
• 4:07
  Speaker 5: Cause you love cars.
• 4:09
  Speaker 3: Hey, that is the first conversation that me and the
• 4:11
  Speaker 3: boyfriend ever had was about cars.
• 4:13
  Speaker 1: Oh no.
• 4:15
  Speaker 5: Not just random cars, like the movie cars.
• 4:18
  Speaker 3: It was one of those survey things that I filled
• 4:19
  Speaker 3: out on like MySpace. You remember MySpace where they have
• 4:22
  Speaker 3: these little like surveys?
• 4:23
  Speaker 5: I used to, it's funny.
• 4:25
  Speaker 6: I used to like, cause you could pick some of
• 4:27
  Speaker 6: the random ones off there were actually kind of cool.
• 4:29
  Speaker 6: So I occasionally would like, I would like out it
• 4:32
  Speaker 6: as like, here's three random questions. I picked off one
• 4:34
  Speaker 6: of those and then make people I was talking to
• 4:36
  Speaker 6: answer them.
• 4:37
  Speaker 1: They were kind of interesting.
• 4:38
  Speaker 3: Well, this was one of those surveys. It's like, what
• 4:39
  Speaker 3: is the closest thing to your left? And it was
• 4:42
  Speaker 3: little doc Hudson from cars. And that was my answer.
• 4:46
  Speaker 3: And he had already friended me up on the mass,
• 4:48
  Speaker 3: the my space. So he was, he messaged me about
• 4:51
  Speaker 3: how that was, he had just taken his daughter to
• 4:53
  Speaker 3: see it and how he embarrassed his daughter. I, when
• 4:56
  Speaker 3: doc came out, Hey, it's a.
• 4:57
  Speaker 5: Hudson Hornet, you know, He does that a lot, doesn't he?
• 5:00
  Speaker 3: Yeah, that was our first conversation was about the movie Cars.
• 5:03
  Speaker 3: So it was kind of epic on our 10-year anniversary,
• 5:06
  Speaker 3: which we've been together 10 years this year.
• 5:09
  Speaker 1: Yikes.
• 5:09
  Speaker 3: Yeah, 10 years.
• 5:11
  Speaker 5: What is he thinking?
• 5:12
  Speaker 3: I have no clue. I wonder that every damn day.
• 5:16
  Speaker 3: So yeah, we decided this year of our 10-year anniversary
• 5:19
  Speaker 3: that we'll make it the most epic road trip, which
• 5:21
  Speaker 3: I'm pretty sure we can't even possibly top.
• 5:24
  Speaker 5: You were gone a long time and did a lot
• 5:25
  Speaker 5: of stuff, so it's going to be hard.
• 5:27
  Speaker 3: At least two weeks and a couple days. We went
• 5:31
  Speaker 3: and we took Route 66 and some of the other
• 5:33
  Speaker 3: roads down to hit the Grand Canyon, which is pretty big.
• 5:38
  Speaker 5: That was Jay's take on it.
• 5:40
  Speaker 3: It's bigger than he thought it was going to be.
• 5:43
  Speaker 5: To which, what was your response?
• 5:44
  Speaker 3: Well, they don't call it like the medium-sized canyon.
• 5:46
  Speaker 5: It's grande. They fill it with coffee now, I think.
• 5:50
  Speaker 3: So, yeah, we hit the Grand Canyon and then we
• 5:53
  Speaker 3: went to Las Vegas.
• 5:54
  Speaker 5: I'm telling you. I'm doing it right now. I'm doing
• 5:56
  Speaker 5: the cowboy dude move.
• 5:58
  Speaker 3: Yeah, I'm telling you.
• 5:58
  Speaker 5: I'm doing his arm.
• 5:59
  Speaker 3: I don't even think he does the movement anymore. He
• 6:01
  Speaker 3: just kind of stands there.
• 6:02
  Speaker 5: I miss the thing that I never saw. But when
• 6:05
  Speaker 5: I think of it, I always think of the big
• 6:06
  Speaker 5: neon cowboy dude.
• 6:07
  Speaker 3: It was awesome. Like certain parts were just very overwhelming.
• 6:11
  Speaker 5: Well, you don't leave the house much.
• 6:13
  Speaker 3: There's a lot of stuff in Vegas. There's a lot
• 6:15
  Speaker 3: of lights, a lot of people.
• 6:16
  Speaker 6: You stay at home, and then all of a sudden
• 6:17
  Speaker 6: you throw yourself in the middle of Vegas. That's, you know,
• 6:19
  Speaker 6: you're going to send your whole system into shock.
• 6:22
  Speaker 3: The nerd part of me was pretty excited because, like,
• 6:24
  Speaker 3: on every corner you go, there's these guys, and they're hanging,
• 6:27
  Speaker 3: handing out cards. They look like trading cards.
• 6:30
  Speaker 7: Oh, no.
• 6:31
  Speaker 5: You got sucked into it.
• 6:33
  Speaker 3: I didn't take any of the cards, so I'm like,
• 6:34
  Speaker 3: I don't want to touch anything that that guy has touched.
• 6:36
  Speaker 3: But they're like.
• 6:37
  Speaker 5: You got sucked into a cult.
• 6:38
  Speaker 1: Didn't you?
• 6:38
  Speaker 3: No, they were call girls.
• 6:40
  Speaker 1: Oh.
• 6:41
  Speaker 3: They're whore trading cards.
• 6:41
  Speaker 5: I do need to go.
• 6:43
  Speaker 3: They're whore cards. That's what they pretty much are. They're
• 6:44
  Speaker 3: pretty much, hey, here's this girl. She's naked.
• 6:47
  Speaker 5: Call her.
• 6:47
  Speaker 3: It's pretty much what it is on every corner.
• 6:50
  Speaker 5: I didn't know that was an option. But they're everywhere.
• 6:52
  Speaker 5: Although it is Vegas.
• 6:53
  Speaker 3: They're scattered all over the ground.
• 6:54
  Speaker 5: They found a weird legal loophole that I don't understand either,
• 6:57
  Speaker 5: but whatever.
• 6:58
  Speaker 3: Because they do have brothels out in that area. We
• 7:00
  Speaker 3: saw several brothels listed, labeled on the big side, saloon
• 7:04
  Speaker 3: and brothel. And I'm like, holy shit, that's not even
• 7:06
  Speaker 3: like a jokey brothel.
• 7:07
  Speaker 5: We went to the old West Times. Why don't we
• 7:09
  Speaker 5: take this left turn?
• 7:13
  Speaker 3: Took the wrong kind of apple cookie. But yeah, we
• 7:15
  Speaker 3: didn't really, like, I lost $ 7.
• 7:18
  Speaker 5: You have a gambling problem. How much did you invest? $ 7.
• 7:23
  Speaker 3: That's what I figured.
• 7:25
  Speaker 6: I've been to a casino boat with you before, and
• 7:28
  Speaker 6: I think you spent all of, like, $ 2 that time.
• 7:30
  Speaker 5: That's probably $ 5.
• 7:31
  Speaker 3: It's usually, $ 5 is usually around.
• 7:32
  Speaker 5: And then the one time you won, like, $ 20, didn't you?
• 7:35
  Speaker 3: I won, like, $ 25 on the Elvis slot machine, and
• 7:36
  Speaker 3: I had no idea what happened. I was like, what's
• 7:38
  Speaker 3: going on? Why are the lights? And she's like, oh,
• 7:40
  Speaker 3: you just won some money.
• 7:40
  Speaker 5: And I'm like, She was like a random passerby, too.
• 7:44
  Speaker 5: You're just like, I don't understand. And she's like, you
• 7:46
  Speaker 5: won money, weirdo.
• 7:48
  Speaker 6: Yeah.
• 7:48
  Speaker 3: So I cashed out and left, unlike anybody else who
• 7:50
  Speaker 3: probably would have just sank that shit back into it.
• 7:52
  Speaker 6: Once again, we're not really casino people, obviously. I was
• 7:56
  Speaker 6: just looking for the universal monster slot machine.
• 7:59
  Speaker 3: My jam is usually the Munsters.
• 8:01
  Speaker 5: Yeah, I did play the Munsters. I think there was both.
• 8:04
  Speaker 6: I think I played a Creature one, I remember, and
• 8:06
  Speaker 6: then there was definitely a Munsters one that I also did.
• 8:08
  Speaker 3: I couldn't find the Munsters one in Vegas, but most
• 8:12
  Speaker 3: of my search was just finding one that were like
• 8:13
  Speaker 3: penny slots, because I'm like, I am not spending a
• 8:15
  Speaker 3: lot of money on this shit.
• 8:16
  Speaker 5: I'm not spending upwards of a dollar.
• 8:18
  Speaker 3: No shit, dude. Someone would trick you, too. They're like, oh,
• 8:20
  Speaker 3: it's only one credit. And I'm like, one credit's like
• 8:23
  Speaker 3: 30 cents. I'm like, oh, you tricked me.
• 8:24
  Speaker 5: Scam.
• 8:26
  Speaker 3: The most money we spent was going to see, which
• 8:27
  Speaker 3: I was pretty excited about, We went and saw Penn
• 8:30
  Speaker 3: and Teller. Oh, Lord. Which anybody who knows me knows
• 8:32
  Speaker 3: my deep love and appreciation for Penn Gillette. I love
• 8:36
  Speaker 3: him when he juggles. I don't understand it because I
• 8:39
  Speaker 3: hate magicians normally.
• 8:42
  Speaker 5: And yet, Penn being sort of the anti-magician, he's okay
• 8:45
  Speaker 5: in your book.
• 8:46
  Speaker 6: He is.
• 8:46
  Speaker 5: And he juggles.
• 8:47
  Speaker 3: He juggles like nobody's business. And he's so tall. I
• 8:51
  Speaker 3: got a picture with him. Apparently, if you, like... They, like,
• 8:55
  Speaker 3: wait out in the lobby. And, like, anybody who wants
• 8:57
  Speaker 3: to get an autograph and a picture, they will wait
• 8:58
  Speaker 3: until everybody is done.
• 8:59
  Speaker 5: That's pretty cool.
• 9:00
  Speaker 3: That is awesome. I mean, it was kind of like a, hey, like,
• 9:03
  Speaker 3: hurry up. Like, you know. They weren't, like, rude or anything.
• 9:05
  Speaker 3: They were nice. I mean, they don't have to go
• 9:06
  Speaker 3: out there and do this with all these people.
• 9:08
  Speaker 5: But, you know.
• 9:09
  Speaker 3: It wasn't, like, sit down and chit-chatty time. But, you know.
• 9:12
  Speaker 3: I got my picture. I was excited. I look crazy.
• 9:15
  Speaker 5: There is full... That's pretty standard.
• 9:17
  Speaker 3: Full-on crazy eyes going on.
• 9:19
  Speaker 5: You do have that. I've seen the photo.
• 9:21
  Speaker 3: It is, yeah. I mean.
• 9:23
  Speaker 5: You're pretty keyed up, though.
• 9:24
  Speaker 3: I know. The one Teller took actually turned out really good.
• 9:26
  Speaker 1: Wow, Teller.
• 9:27
  Speaker 3: And I heard him speak.
• 9:29
  Speaker 5: He says words.
• 9:30
  Speaker 3: He said words, and I'm not really sure what kind
• 9:31
  Speaker 3: of accent it was, but considering he's from, like, Pennsylvania or, like,
• 9:34
  Speaker 3: Pennsylvania Dutch, maybe? Because I thought maybe it was kind
• 9:38
  Speaker 3: of like a slight British accent going on.
• 9:40
  Speaker 5: Tellanese? I think it's Tellanese.
• 9:42
  Speaker 3: Is that what it is?
• 9:42
  Speaker 5: He has his own race of peoples somewhere. There's a
• 9:45
  Speaker 5: whole island of people, and they just don't talk.
• 9:48
  Speaker 3: So delightful they were just they were nice and the
• 9:50
  Speaker 3: show was awesome and it was just hilarious and you
• 9:52
  Speaker 3: had to participate that's that's trouble not really like super participate.
• 9:56
  Speaker 5: You might get sucked into the magic box or whatever
• 9:58
  Speaker 5: the there was a.
• 9:58
  Speaker 3: Magic box that they had you look at the beginning
• 10:00
  Speaker 3: of the show which i did you looked.
• 10:02
  Speaker 5: In it and it sucked into a parallel universe.
• 10:05
  Speaker 3: And then they had the whole little thing where you
• 10:07
  Speaker 3: like during the before the show started you go get
• 10:09
  Speaker 3: like some playing cards and a cup and i'm like
• 10:12
  Speaker 3: you had to do this thing where you'd switch them
• 10:14
  Speaker 3: around and it was all complicated. And I got it right.
• 10:17
  Speaker 3: And of course, boyfriend failed epically. And I was just,
• 10:21
  Speaker 3: I was felt sad that a tear the cards in half.
• 10:23
  Speaker 3: And I'm like, but I don't want to tear the
• 10:24
  Speaker 3: cards and have to ruin their mint condition.
• 10:25
  Speaker 5: These are perfectly good cards.
• 10:27
  Speaker 1: I know.
• 10:28
  Speaker 3: And I'm like souvenirs. But then I'm like, Oh no,
• 10:30
  Speaker 3: I got twice as many souvenirs. Yeah. Um, Vegas was, yeah,
• 10:36
  Speaker 3: it was kind of intimidating.
• 10:38
  Speaker 5: Being the super Elvis fan that you are, I'm assuming
• 10:40
  Speaker 5: you were there in the middle of your people. All
• 10:42
  Speaker 5: these Elvises everywhere.
• 10:43
  Speaker 3: I only saw one Elvis walking across the street.
• 10:46
  Speaker 5: What the hell?
• 10:46
  Speaker 3: I know, right? I didn't like go to any other shows.
• 10:49
  Speaker 3: And there were some, but they were like kind of expensive.
• 10:51
  Speaker 3: And we missed the Fat Elvis show. Seriously, he's listed
• 10:55
  Speaker 3: as Fat Elvis. And he's a big dude, apparently. So yeah,
• 11:01
  Speaker 3: we saw one Elvis hanging out with some Transformers. And
• 11:04
  Speaker 3: that was about the extent.
• 11:05
  Speaker 5: That's a weird combo that way.
• 11:06
  Speaker 4: I know, right?
• 11:08
  Speaker 3: I did not hear Viva Las Vegas one time.
• 11:12
  Speaker 5: I think you were in charge of playing it and
• 11:13
  Speaker 5: you didn't do it.
• 11:14
  Speaker 3: Because by the time I got to Vegas, I went
• 11:15
  Speaker 3: through most of my mobile data and I couldn't stream anything.
• 11:19
  Speaker 5: Don't they have free Wi-Fi in Vegas?
• 11:21
  Speaker 3: Not at the hotel we were staying at. Jerks. We
• 11:23
  Speaker 3: got one of the cheap hotels because it didn't have
• 11:25
  Speaker 3: a resort fee because almost every hotel in Vegas has
• 11:28
  Speaker 3: a resort fee. That's the time except for them being
• 11:30
  Speaker 3: like cheap and like, ooh, $ 14 a night for a hotel. Oh, wait,
• 11:33
  Speaker 3: $ 40 resort fees per day. And I'm like, I don't
• 11:35
  Speaker 3: need a resort fee.
• 11:37
  Speaker 5: But you're at a resort. A wonderful resort.
• 11:40
  Speaker 3: We stayed right off the strip. It was awesome. And
• 11:42
  Speaker 3: then after that, the journey continued.
• 11:45
  Speaker 8: Uh-oh.
• 11:46
  Speaker 3: We then went to San Jose. Because I'm like, because
• 11:52
  Speaker 3: the thing started off as boyfriend's idea for a vacation.
• 11:54
  Speaker 3: He wanted to go to the Grand Canyon.
• 11:56
  Speaker 5: The really big canyon.
• 11:58
  Speaker 1: Yeah.
• 11:58
  Speaker 3: The mediocre size Grand Canyon. So I'm like, hey, you know,
• 12:01
  Speaker 3: it's only like four hours from the Grand Canyon, Vegas.
• 12:05
  Speaker 3: You know, it's only about eight hours from Vegas, the
• 12:09
  Speaker 3: Winchester Mystery House.
• 12:10
  Speaker 5: You've added a few extra steps on there.
• 12:12
  Speaker 3: I added all the steps. I'm like, we are going
• 12:15
  Speaker 3: to keep adding the shit on. How often am I
• 12:17
  Speaker 3: going to be out here? On this side of the country.
• 12:19
  Speaker 5: If you're me, never.
• 12:20
  Speaker 3: Exactly.
• 12:21
  Speaker 5: So you suck.
• 12:22
  Speaker 3: So Winchester Mystery House, not as big as I thought
• 12:24
  Speaker 3: it was going to be.
• 12:26
  Speaker 5: That was not as big. This counterbalances your Grand Canyon.
• 12:28
  Speaker 1: Exactly.
• 12:29
  Speaker 3: So I'm like, oh, it's huge. It's got 150 some
• 12:31
  Speaker 3: odd rooms. Yeah, but they're all really small and close.
• 12:34
  Speaker 5: They're mostly closets.
• 12:35
  Speaker 3: A lot of them are really tiny and they're small.
• 12:37
  Speaker 3: And I'm just like, this doesn't take up near as
• 12:39
  Speaker 3: much room as I thought it was going to take.
• 12:41
  Speaker 3: I expected like this sprawling estate.
• 12:44
  Speaker 5: When I move in, where am I going to put
• 12:45
  Speaker 5: all my stuff?
• 12:46
  Speaker 3: That's what I was planning as I was walking through.
• 12:47
  Speaker 3: I'm like, I could put all my books in this
• 12:48
  Speaker 3: little room over here. Parsham, at least A through, like,
• 12:51
  Speaker 3: M or something.
• 12:53
  Speaker 5: I know. You have them alphabetized. Yeah, duh. I keep
• 12:55
  Speaker 5: telling you you get a card catalog.
• 12:57
  Speaker 1: I know.
• 12:58
  Speaker 3: But, yeah, like I said, not as vast. I mean,
• 13:00
  Speaker 3: it's sizable. It's a nice size house. You know, and
• 13:03
  Speaker 3: the story behind it is still interesting, which I'm sure
• 13:05
  Speaker 3: everybody already knows it, so I'm not going to... Go
• 13:08
  Speaker 3: into detail.
• 13:09
  Speaker 5: If not, Google it. I'm sure there's a Wikipedia page
• 13:12
  Speaker 5: for it.
• 13:12
  Speaker 3: Oh, there's like a bajillion informational sites on the register.
• 13:15
  Speaker 5: It's a lot of craziness.
• 13:17
  Speaker 3: But it's interesting and, you know, it's cool. After that,
• 13:21
  Speaker 3: I'm like, hey, you know, it's only about two hours
• 13:24
  Speaker 3: from the... Well, actually.
• 13:25
  Speaker 5: You're suckering him in.
• 13:26
  Speaker 3: Not including traffic. It would have only been like an hour.
• 13:28
  Speaker 3: But the traffic was ridiculous.
• 13:31
  Speaker 5: What the hell are you saying? In this part of
• 13:32
  Speaker 5: the world?
• 13:33
  Speaker 3: No, in California part of the world.
• 13:34
  Speaker 1: That's what I'm saying.
• 13:36
  Speaker 3: So it then took us about two and a half
• 13:37
  Speaker 3: hours to make it from San Jose to Santa Cruz.
• 13:41
  Speaker 6: Now, what would be in Santa Cruz that a geek
• 13:44
  Speaker 6: like you would be into?
• 13:46
  Speaker 3: OMG. I was so excited because the boardwalk from Lost Boys,
• 13:50
  Speaker 3: this is where they shot a good portion of Lost Boys,
• 13:53
  Speaker 3: was in Santa Cruz. That's, you know, it was, that's
• 13:56
  Speaker 3: because in the movie it's referenced as the murder capital
• 13:58
  Speaker 3: of the world.
• 14:00
  Speaker 5: Was it? Were there dead bodies everywhere?
• 14:01
  Speaker 3: I did not find one. I know, right?
• 14:04
  Speaker 5: Collect them all.
• 14:05
  Speaker 1: Keep looking.
• 14:05
  Speaker 5: It's like those little trading cards. But in this town,
• 14:07
  Speaker 5: they're like, hey, dead body. Want a dead body?
• 14:08
  Speaker 3: Because apparently for the longest time, at least during the
• 14:10
  Speaker 3: 70s and early 80s, it was actually referred to as
• 14:13
  Speaker 3: the murder capital of the world because there were so
• 14:15
  Speaker 3: many serial killers based in and around.
• 14:17
  Speaker 5: Because Detroit wasn't having its problems yet.
• 14:19
  Speaker 1: Yeah.
• 14:20
  Speaker 3: Fuck Detroit.
• 14:22
  Speaker 5: Sorry, Detroit.
• 14:23
  Speaker 3: I'm not sorry.
• 14:24
  Speaker 2: They have problems.
• 14:25
  Speaker 6: I actually feel bad for anybody who is currently living
• 14:28
  Speaker 6: in Detroit.
• 14:29
  Speaker 5: They have an uphill battle going on all their own.
• 14:31
  Speaker 3: That's where Chris Cornell killed himself. Fucking Detroit.
• 14:34
  Speaker 5: Chris, what are you thinking?
• 14:35
  Speaker 3: Nothing now.
• 14:36
  Speaker 5: Damn it. I know.
• 14:38
  Speaker 3: So we went to Santa Cruz. Like I said, a
• 14:42
  Speaker 3: lot of Lost Boys was shot there. And the boardwalk
• 14:45
  Speaker 3: where they ride their motorcycles down to the little pit
• 14:49
  Speaker 3: where the amphitheater with the greasy saxophones, who I love,
• 14:52
  Speaker 3: by the way. You need to get him on the show.
• 14:55
  Speaker 5: We'll see what we can do.
• 14:56
  Speaker 3: You work on that. He seems like he's nice. He
• 14:58
  Speaker 3: seems like he'd probably do it. He's awesome.
• 15:00
  Speaker 5: As long as he's oiled up while we're talking.
• 15:02
  Speaker 3: If not, When we start, he will be by the
• 15:05
  Speaker 3: time we're done because I will oil him up.
• 15:07
  Speaker 6: Don't mind Misty's hands while we're talking. Feel free to
• 15:10
  Speaker 6: just continue telling stories.
• 15:12
  Speaker 5: About Lost Boys.
• 15:12
  Speaker 3: I'm sure it would not be the first and or
• 15:14
  Speaker 3: last time that has happened to him.
• 15:16
  Speaker 5: Or to several of our other guests. There's a few
• 15:19
  Speaker 5: restraining orders. But anyway, continue.
• 15:21
  Speaker 3: We are not at liberty to talk about those at
• 15:23
  Speaker 3: this moment.
• 15:24
  Speaker 5: Legally, we are not.
• 15:28
  Speaker 3: Seriously, there's no lawsuits that I know about.
• 15:29
  Speaker 5: That you can prove.
• 15:30
  Speaker 1: Yeah.
• 15:31
  Speaker 5: But, uh.
• 15:32
  Speaker 3: Yeah, there were several. We didn't get to go see
• 15:34
  Speaker 3: the grandpa's house in the woods because apparently there's a fence.
• 15:37
  Speaker 5: Again, grandpa from the Lost Boys.
• 15:39
  Speaker 1: Yeah.
• 15:39
  Speaker 5: This caused confusion earlier.
• 15:40
  Speaker 3: Because we were talking about Lost Boys.
• 15:41
  Speaker 5: I know. But even earlier when you were talking about it,
• 15:43
  Speaker 5: I was like, Grandpa Munster, he lived in the basement.
• 15:46
  Speaker 5: That doesn't make any sense.
• 15:47
  Speaker 3: Yeah, so we went to the boardwalk, which I was
• 15:49
  Speaker 3: super excited about. I wanted to go to the train
• 15:51
  Speaker 3: bridge because apparently they made it into some big walk
• 15:53
  Speaker 3: park area. But by then we were on a time constraint.
• 15:56
  Speaker 5: And you would have jumped off.
• 15:57
  Speaker 3: I probably would have hung from the bottom, and then
• 15:59
  Speaker 3: I probably would not have been well.
• 16:00
  Speaker 5: You wouldn't have been a vampire.
• 16:02
  Speaker 3: I have, like, fat noodle arms, so I wouldn't have
• 16:03
  Speaker 3: been able to hold myself up, and I would have
• 16:05
  Speaker 3: fell in the water, and I'd have been wet, and
• 16:07
  Speaker 3: boyfriend probably wouldn't have let me get in the truck wet.
• 16:08
  Speaker 5: Probably not. Big ordeal.
• 16:11
  Speaker 3: We went to San Francisco, and then we didn't see
• 16:15
  Speaker 3: much there. There was this really cool place, the name
• 16:17
  Speaker 3: of which I can't pronounce, but it was awesome. If
• 16:19
  Speaker 3: you ever go to San Francisco, look this place up.
• 16:20
  Speaker 5: Look for this place that we're not telling you the
• 16:22
  Speaker 5: name of.
• 16:23
  Speaker 3: It's at the wharf. It's at the Fisherman's Wharf. All
• 16:26
  Speaker 3: it has is like old coin-operated machines.
• 16:28
  Speaker 5: You did show me pictures. They are awesome.
• 16:31
  Speaker 3: Like anything old coin-operated.
• 16:33
  Speaker 5: Pre-video game era. Back when you had like physical, like
• 16:36
  Speaker 5: your test your strength and like the love meter. Only
• 16:40
  Speaker 5: some of them are way more elaborate.
• 16:42
  Speaker 3: Like little dioramas that when you put your quarter in,
• 16:44
  Speaker 3: they do like a little show.
• 16:46
  Speaker 6: Like marionette puppet dancing and all kinds of weird stuff
• 16:49
  Speaker 6: going on.
• 16:49
  Speaker 1: It's crazy.
• 16:50
  Speaker 3: It's insane. It was amazing. But it's like Museum Mechanikik.
• 16:55
  Speaker 3: I can't even pronounce it. It's a word. But you
• 16:59
  Speaker 3: try to figure out what I just said and look
• 17:00
  Speaker 3: it up because it's awesome.
• 17:02
  Speaker 5: There's your endorsement.
• 17:04
  Speaker 3: It is. I can't even remember what pier it was on.
• 17:06
  Speaker 3: Pier 43? I could be totally wrong.
• 17:08
  Speaker 5: Just look near the ocean.
• 17:09
  Speaker 1: Yeah.
• 17:10
  Speaker 3: Just go out that way and eventually you'll find it.
• 17:12
  Speaker 5: Just walk around. You'll run into it.
• 17:13
  Speaker 3: The guy who ran it was awesome. He was running
• 17:15
  Speaker 3: around on roller skates. He was like rolling around because
• 17:16
  Speaker 3: I had a problem. And I'm like, I broke your machine.
• 17:18
  Speaker 5: He's like, oh, my God.
• 17:19
  Speaker 3: I didn't actually break the machine.
• 17:21
  Speaker 5: Tearing shit up.
• 17:21
  Speaker 3: It was all jammed up from somebody else who jammed
• 17:23
  Speaker 3: it up. And I was like, I want my fortune.
• 17:24
  Speaker 3: He gave me my 50 cents back, but whatever.
• 17:26
  Speaker 5: Did you wish to be big?
• 17:28
  Speaker 3: No. I saw so many Zardas. Zoltars. I saw so
• 17:34
  Speaker 3: many Zoltars. There were no Zartans. That would have been awesome.
• 17:38
  Speaker 3: So many Zoltars and all the fortune telling machines, which
• 17:41
  Speaker 3: are fascinating to me.
• 17:42
  Speaker 1: That they are.
• 17:43
  Speaker 3: Then we went to Lake Tahoe and saw a homeless
• 17:46
  Speaker 3: person scamper about some rocks. And then Salt Lake City,
• 17:50
  Speaker 3: which had the best bookstore I've ever been to. And
• 17:51
  Speaker 3: if I could remember the name of that, I would
• 17:53
  Speaker 3: tell you. It's Utah Book and Magazine Exchange or something
• 17:57
  Speaker 3: like that.
• 17:57
  Speaker 5: Awesome, by the way. Did you buy 400 books?
• 18:01
  Speaker 3: I bought five magazines.
• 18:03
  Speaker 5: That sounds about right.
• 18:04
  Speaker 3: And about four books. One of them was a twist
• 18:06
  Speaker 3: of plot that I was super excited about because it
• 18:07
  Speaker 3: was the first one that was written by R.L.
• 18:09
  Speaker 1: Stine.
• 18:09
  Speaker 3: So you know I was down.
• 18:12
  Speaker 5: Your bestest friend who you recently met.
• 18:13
  Speaker 3: Oh, my God.
• 18:14
  Speaker 5: I was super excited about that. I don't think we
• 18:15
  Speaker 5: talked about that on the show. Did we talk about that? Oh,
• 18:16
  Speaker 5: my God.
• 18:16
  Speaker 3: I don't think so.
• 18:18
  Speaker 5: We both met him. He was pretty damn cool.
• 18:19
  Speaker 3: You almost made me cry.
• 18:21
  Speaker 5: I fixed it.
• 18:22
  Speaker 3: You did fix it?
• 18:22
  Speaker 9: I fixed it.
• 18:23
  Speaker 3: After I almost cried because you did not.
• 18:25
  Speaker 8: Make a picture.
• 18:25
  Speaker 5: There were camera problems and her one photo with him
• 18:28
  Speaker 5: got messed up and.
• 18:30
  Speaker 3: It was not a photo. It was a video.
• 18:31
  Speaker 5: It was a video.
• 18:32
  Speaker 3: Which does not translate well into screen grabby and clearness.
• 18:36
  Speaker 5: But now you have an awesome video of you saying
• 18:38
  Speaker 5: your name in front of him, proving that you didn't
• 18:41
  Speaker 5: forget your own name.
• 18:42
  Speaker 3: I came really close. There was some hair twirling and
• 18:44
  Speaker 3: some full-on fangirly giggling.
• 18:46
  Speaker 5: It kind of is. It's pretty damn entertaining.
• 18:50
  Speaker 3: I was pretty proud of myself.
• 18:51
  Speaker 5: Now you have that and a photo. You'll be okay.
• 18:54
  Speaker 3: I was a lot more okay with the video once
• 18:55
  Speaker 3: I had the photo. But yeah, we waited in line
• 18:58
  Speaker 3: for like two hours for R.L. Stine when it was
• 19:00
  Speaker 3: totally worth it because he was R.L.
• 19:02
  Speaker 6: Stine.
• 19:02
  Speaker 5: He's pretty damn cool.
• 19:03
  Speaker 3: I've read like every Fear Street book that has ever,
• 19:06
  Speaker 3: except for Midnight Diary, which is not really like a
• 19:08
  Speaker 3: book book. It's like an activity book. So if anybody
• 19:10
  Speaker 3: can hook me up with a copy of that, I
• 19:11
  Speaker 3: would be forever grateful because, yeah, hard to find.
• 19:14
  Speaker 5: All right.
• 19:16
  Speaker 3: But yeah, R.L. Stine. Fucking amazing.
• 19:20
  Speaker 5: So did that round out the trip?
• 19:22
  Speaker 3: We hit Salt Lake City and then we went to,
• 19:25
  Speaker 3: not quite done yet, went to Colorado Springs.
• 19:28
  Speaker 1: All right.
• 19:29
  Speaker 3: Where boyfriend then proceeded to climb the Manitou Mile.
• 19:31
  Speaker 6: I do remember him mentioning this on his Facebook page
• 19:35
  Speaker 6: that he was going to do this before he left.
• 19:37
  Speaker 6: And I was like, that seems like a lot of
• 19:38
  Speaker 6: walking and going uphill.
• 19:40
  Speaker 3: It is. It's only one mile long. But in that
• 19:44
  Speaker 3: one mile, it goes up 2,000 feet in elevation.
• 19:48
  Speaker 5: Seems like a bit of a hike.
• 19:49
  Speaker 1: Yeah. Yeah.
• 19:50
  Speaker 3: And where was Misty during this, you might ask yourself?
• 19:52
  Speaker 5: Napping?
• 19:53
  Speaker 3: Misty was in the hotel.
• 19:54
  Speaker 5: Watching TV?
• 19:56
  Speaker 8: Nope.
• 19:56
  Speaker 1: Asleep.
• 19:58
  Speaker 3: She got up long enough to go eat some breakfast
• 20:01
  Speaker 3: in the continental breakfast room. Hell yeah. That wasn't a
• 20:03
  Speaker 3: really good one. It was like, I had some oatmeal
• 20:06
  Speaker 3: or something, but.
• 20:08
  Speaker 5: Oatmeal and gravy. They always give me the weirdest combination
• 20:11
  Speaker 5: of waffles and oranges.
• 20:13
  Speaker 7: I don't know.
• 20:13
  Speaker 6: It's just that nothing pairs up right. It's like not
• 20:16
  Speaker 6: eggs and bacon. It's always like waffles and gravy.
• 20:19
  Speaker 5: I don't know.
• 20:20
  Speaker 6: It's always like the weirdest pairings of things at my
• 20:23
  Speaker 6: quote unquote continental breakfast for the conventions that I end
• 20:26
  Speaker 6: up at because that's the only place I go.
• 20:28
  Speaker 3: Well, boyfriend survived the Manitou Mile while I napped. Hi.
• 20:34
  Speaker 3: And then after that, we left to the drooded lands
• 20:37
  Speaker 3: of Kansas.
• 20:38
  Speaker 5: Your favorite place.
• 20:39
  Speaker 3: I hate Kansas. Kansas is the worst. There's like, why
• 20:42
  Speaker 3: would Dorothy want to go back? I'd have just stayed
• 20:45
  Speaker 3: in Oz if I was Dorothy. I'd be like, hey,
• 20:46
  Speaker 3: you know what? Things are in color here. I'm going
• 20:49
  Speaker 3: to stay.
• 20:50
  Speaker 5: These monkeys are pretty cool. I'm going to see if
• 20:52
  Speaker 5: I can get them to do my bidding.
• 20:53
  Speaker 3: Hell yeah.
• 20:53
  Speaker 1: That's my plan.
• 20:54
  Speaker 3: The only redeeming, not even, I don't want to call
• 20:57
  Speaker 3: it redeeming. The only good thing about Kansas is apparently Topeka,
• 21:00
  Speaker 3: Kansas has opened an Evel Knievel Museum. Which reminds me,
• 21:04
  Speaker 3: I forgot to talk about one thing in Vegas. If
• 21:06
  Speaker 3: anybody's ever in Vegas, Evil Pie. Best pizza that has
• 21:09
  Speaker 3: ever existed.
• 21:10
  Speaker 6: I didn't know it was there, but now one more
• 21:13
  Speaker 6: reason for me to kickstart this fundraiser to get me
• 21:16
  Speaker 6: to go to eat Evil Pie.
• 21:17
  Speaker 3: I think I had initially, like when we first started
• 21:19
  Speaker 3: planning this, like acknowledged that it was there, but by
• 21:22
  Speaker 3: the time we got there, I totally forgot. And then
• 21:24
  Speaker 3: we were walking down Fremont Street and I was like,
• 21:26
  Speaker 3: holy shit, it's Evil Pie. We need to go in
• 21:29
  Speaker 3: there so I can look at stuff. And then I'm like, Well, shit,
• 21:31
  Speaker 3: we're already here. I might as well eat some pizza. And, oh,
• 21:33
  Speaker 3: my God, best pizza, hands down, that I've ever eaten.
• 21:37
  Speaker 5: Did they bring you your slice, and then you got on, like,
• 21:40
  Speaker 5: a BMX bike, and you jumped over it first?
• 21:42
  Speaker 1: No.
• 21:42
  Speaker 5: Because I really kind of feel like you should have
• 21:44
  Speaker 5: to jump over your bike.
• 21:44
  Speaker 3: No, like, it had, like, a counter, and you're just like,
• 21:47
  Speaker 3: I want some pizza. They're like, okay, here you go.
• 21:48
  Speaker 3: And then you had to go find your own table.
• 21:50
  Speaker 5: That sounds way more normal.
• 21:51
  Speaker 3: I know, but it was still awesome.
• 21:52
  Speaker 2: Evil is not a normal man.
• 21:53
  Speaker 5: No.
• 21:54
  Speaker 3: The whole thing had, like, all the decor and decorations
• 21:56
  Speaker 3: and toys and extravagant displays.
• 21:59
  Speaker 1: Leathers, too.
• 22:00
  Speaker 3: There was no leathers at the pizza place, but there
• 22:03
  Speaker 3: was leathers at the museum in Topeka, Kansas.
• 22:05
  Speaker 5: All right, I'm getting excited with my evils. I'm getting
• 22:07
  Speaker 5: them all mixed up.
• 22:08
  Speaker 3: But yeah, back to Topeka, Kansas. Why Topeka? Because, I mean,
• 22:13
  Speaker 3: he had nothing to do with Topeka as far as
• 22:15
  Speaker 3: I know. He's from Butte, Montana, right? Yeah, you're a nerd.
• 22:18
  Speaker 3: You know these things.
• 22:19
  Speaker 5: Sounds like the right place, sure.
• 22:20
  Speaker 3: So I'm like, why the hell are they putting an
• 22:22
  Speaker 3: Evel Knievel Museum in Topeka, Kansas? Apparently just because there's
• 22:26
  Speaker 3: a Harley Davidson Museum.
• 22:28
  Speaker 5: He did like his Harleys.
• 22:30
  Speaker 3: But yeah, I mean, I guess it's kind of hard
• 22:33
  Speaker 3: because it's like a lot of the stuff was like, well,
• 22:35
  Speaker 3: here's the motorcycle. I'm like, this one piece is original.
• 22:38
  Speaker 5: That's what I said. It's because the rest of it's
• 22:39
  Speaker 5: at the bottom of Snake River.
• 22:41
  Speaker 7: Yeah.
• 22:41
  Speaker 5: Like all of them got smashed at some point. So
• 22:44
  Speaker 5: it's like, this fender is still good.
• 22:45
  Speaker 1: Here, look at that.
• 22:47
  Speaker 3: Pretty much. Here's this tank, this one seat.
• 22:49
  Speaker 5: Here's one bent wheel. That's the only thing we could find.
• 22:51
  Speaker 3: This one nut and bolt came from a motorcycle.
• 22:55
  Speaker 5: Let's keep that.
• 22:55
  Speaker 1: That guy is so awesome.
• 22:57
  Speaker 5: Ridiculous and awesome.
• 22:59
  Speaker 3: He was amazing.
• 22:59
  Speaker 5: He was such a dude.
• 23:03
  Speaker 3: He was a dude. He had a lot of the
• 23:05
  Speaker 3: original leathers. The Sports Illustrated cover outfit was there. The
• 23:11
  Speaker 3: Viva Knievel Leathers were there. A lot of the original letters.
• 23:15
  Speaker 5: One of the finest films you'll run across, Evel Knievel.
• 23:18
  Speaker 3: Still, all I can think about that movie is when
• 23:19
  Speaker 3: he throws the doll at the kid or tosses it.
• 23:21
  Speaker 3: I'm like, here you go, or whatever.
• 23:23
  Speaker 5: I thought he smacked that kid.
• 23:24
  Speaker 1: Maybe he did.
• 23:24
  Speaker 5: Remember when he went in and they were sleeping and
• 23:26
  Speaker 5: he wakes them up by smacking them? He's like, hey,
• 23:29
  Speaker 5: wake up. I'm like, he just smacked a random kid
• 23:31
  Speaker 5: he doesn't even know. That's Evel Knievel for you.
• 23:34
  Speaker 3: I love you some Evel Knievel.
• 23:36
  Speaker 5: He's amazing.
• 23:37
  Speaker 1: Yeah. And ridiculous.
• 23:39
  Speaker 9: Yep.
• 23:39
  Speaker 5: All at the same time.
• 23:40
  Speaker 1: Yep.
• 23:42
  Speaker 3: So, yeah, that had a lot of memorabilia. They had
• 23:44
  Speaker 3: the big red truck. The big red, I guess what
• 23:48
  Speaker 3: it's called. Like, the big.
• 23:49
  Speaker 5: Like, the one he loaded stuff into?
• 23:50
  Speaker 3: Or the one, like, his living quarters when he would, like,
• 23:53
  Speaker 3: go places. Like, where he would, like, do all his stuff.
• 23:55
  Speaker 3: And then, like, it had, like, two sections where he would, like,
• 23:58
  Speaker 3: the original ramps that he used were there.
• 24:00
  Speaker 6: Nice.
• 24:01
  Speaker 5: This ramp launched him to almost his death.
• 24:04
  Speaker 3: Several times many many times several times yeah and they
• 24:07
  Speaker 3: also had like this one spot where you could like
• 24:09
  Speaker 3: get on a motorcycle and it was like a 4D
• 24:11
  Speaker 3: experience like put this thing on your head and you
• 24:12
  Speaker 3: were driving the motorcycle and you'd wee and all that
• 24:15
  Speaker 3: stuff we didn't.
• 24:15
  Speaker 5: Do that crazy technology yeah it was.
• 24:18
  Speaker 3: Like I said it was pretty exciting I don't know
• 24:20
  Speaker 3: like I said I guess maybe I had thought maybe
• 24:22
  Speaker 3: there'd be like a little bit more original stuff but
• 24:24
  Speaker 3: like like you said most of it's like gone like
• 24:27
  Speaker 3: smashed there's probably not a lot of stuff that actually
• 24:29
  Speaker 3: still exists in it they had like one of the
• 24:32
  Speaker 3: tests uh Stunt Cycles?
• 24:35
  Speaker 5: Like the rocket, basically, the one that he launched himself
• 24:40
  Speaker 5: into Snake River.
• 24:40
  Speaker 3: Yeah, they had like one of the original, the test one. Yeah.
• 24:44
  Speaker 3: Because he didn't want anybody to know that he was
• 24:46
  Speaker 3: using test ones. They wanted him to think that the
• 24:48
  Speaker 3: one we have is.
• 24:49
  Speaker 5: Again, showmanship.
• 24:51
  Speaker 6: Yeah.
• 24:52
  Speaker 3: Because he was nothing if not a showman. He was,
• 24:54
  Speaker 3: you know.
• 24:54
  Speaker 5: Through and through.
• 24:55
  Speaker 3: Yeah. He was, they don't make him like evil anymore.
• 25:00
  Speaker 5: With good reason.
• 25:01
  Speaker 3: They broke that mold.
• 25:02
  Speaker 6: Don't get me wrong.
• 25:02
  Speaker 5: I love the guy, but he was not right.
• 25:05
  Speaker 3: But he was glorious in his not rightness.
• 25:07
  Speaker 5: He was and will ever be.
• 25:09
  Speaker 3: And to think, all that shit, and it wasn't even
• 25:12
  Speaker 3: like a motorcycle that killed him. It was like, what
• 25:14
  Speaker 3: took him out? Heart disease?
• 25:16
  Speaker 5: Heart attack, like everybody else.
• 25:18
  Speaker 1: I don't know.
• 25:18
  Speaker 5: Everybody gets cancer as a heart attack. It's sad is
• 25:22
  Speaker 5: what it is. Yeah.
• 25:23
  Speaker 3: Not what you would have thought would have taken him out.
• 25:25
  Speaker 5: Really, after all that stuff, you would assume he would
• 25:28
  Speaker 5: just be like careening into a tree or something.
• 25:30
  Speaker 3: He broke just about everything.
• 25:32
  Speaker 5: Yeah, pretty much.
• 25:34
  Speaker 3: I mean, is there anything he didn't break?
• 25:36
  Speaker 5: His bones in his ear?
• 25:39
  Speaker 1: Maybe?
• 25:39
  Speaker 3: I don't know.
• 25:40
  Speaker 6: I would think he probably jarred his head a whole lot,
• 25:42
  Speaker 6: which is why he kept doing all those things, so.
• 25:45
  Speaker 3: My only complaint about the museum was that there was
• 25:47
  Speaker 3: not a sufficient gift shop because I like gifts.
• 25:49
  Speaker 2: You wanted stuff.
• 25:50
  Speaker 3: I want stuff. I want memorabilia.
• 25:51
  Speaker 5: I want some evil stuff.
• 25:53
  Speaker 3: I want like a tacky snow globe that has him
• 25:56
  Speaker 3: jumping and crashing and like blood splatter, like sequins in there,
• 26:00
  Speaker 3: you know?
• 26:01
  Speaker 6: I want one of those little pins that you turn
• 26:02
  Speaker 6: it upside down and it like smashes into something at.
• 26:04
  Speaker 5: The other end. These are all good ideas. We should
• 26:08
  Speaker 5: get on this.
• 26:08
  Speaker 3: They had like two stickers.
• 26:11
  Speaker 5: You guys are doing it right. I know.
• 26:12
  Speaker 3: They had some shirts, but they were like... way expensive
• 26:15
  Speaker 3: i'm like cheap i want to sound like where's where's
• 26:17
  Speaker 3: the clearance.
• 26:18
  Speaker 5: Right novelty junk yeah.
• 26:19
  Speaker 3: Exactly little monies like we went to the back to
• 26:23
  Speaker 3: when we went to las vegas i bought a snow
• 26:24
  Speaker 3: globe from the nuclear testing museum and it's a little
• 26:27
  Speaker 3: mushroom cloud and when you shake it blue glitter like flies.
• 26:31
  Speaker 6: Around you posted the picture of that before you even
• 26:34
  Speaker 6: got back and i was like oh first off i
• 26:36
  Speaker 6: hope you bought that hell just.
• 26:37
  Speaker 5: Second of all i'm like man that is delightfully tacky
• 26:40
  Speaker 5: And it.
• 26:40
  Speaker 3: Was only like $ 10. That is awesome. That was worth
• 26:42
  Speaker 3: the taggy.
• 26:42
  Speaker 5: I'd be all over that.
• 26:43
  Speaker 3: Hell yeah.
• 26:44
  Speaker 5: It's pretty damn cool.
• 26:46
  Speaker 3: Yeah, but then that about wraps up our... After we
• 26:48
  Speaker 3: left that, we just went to the right home.
• 26:50
  Speaker 5: You were gone a long damn time.
• 26:51
  Speaker 3: Two weeks and a couple days.
• 26:53
  Speaker 5: It felt like even longer.
• 26:54
  Speaker 3: I know.
• 26:55
  Speaker 5: Once again, that's why we veered away from Misty Town. Like,
• 26:58
  Speaker 5: you haven't been on in a long damn time.
• 26:59
  Speaker 9: I know.
• 27:00
  Speaker 5: Welcome back to Wonderfest. You can't escape your annual home.
• 27:05
  Speaker 3: Made it back just in time.
• 27:07
  Speaker 5: Just in time.
• 27:08
  Speaker 3: All right.
• 27:10
  Speaker 5: So now I say we get to this week's guest. Viva!
• 27:16
  Speaker 8: Viva!
• 27:17
  Speaker 3: Viva!
• 27:17
  Speaker 1: Viva!
• 27:18
  Speaker 5: Viva!
• 27:19
  Speaker 7: Viva!
• 27:20
  Speaker 3: Viva! Viva! Viva!
• 27:21
  Speaker 5: Viva!
• 27:22
  Speaker 1: Viva!
• 27:22
  Speaker 5: Viva! Good evening.
• 28:04
  Speaker 4: It's intermission time. Our service is friendly and quick. You'll
• 28:08
  Speaker 4: find hot dogs, hamburgers, pizza, your favorite candies, hot and
• 28:12
  Speaker 4: cold beverages, and other delicious snacks. So add to your
• 28:16
  Speaker 4: fun of watching the movie. Visit our refreshment stand right now.
• 28:20
  Speaker 4: We're glad to have you with us tonight. We hope
• 28:22
  Speaker 4: you'll come to see us often. It's great to get
• 28:25
  Speaker 4: out to the movies.
• 28:35
  Speaker 7: At the far end of the universe, there is a planet,
• 28:38
  Speaker 7: ruled by a being of utter evil. And there is
• 28:46
  Speaker 7: only one man who dares challenge him. They are locked
• 28:52
  Speaker 7: in a battle to the death. A battle that will
• 28:54
  Speaker 7: take them across the heavens.
• 28:56
  Speaker 1: Stop him!
• 28:57
  Speaker 7: A battle that will finally be fought.
• 28:59
  Speaker 2: I want the budget out and brought to me!
• 29:02
  Speaker 7: Across the face.
• 29:05
  Speaker 3: Police!
• 29:06
  Speaker 5: Nobody move!
• 29:07
  Speaker 9: Of Earth.
• 29:09
  Speaker 2: I think I'm.
• 29:13
  Speaker 1: Gonna need some backup.
• 29:15
  Speaker 3: No!
• 29:17
  Speaker 9: Julie!
• 29:18
  Speaker 7: From a distant galaxy, they have come to Earth. Dolph
• 29:22
  Speaker 7: Lundgren as He-Man. Frank Langella as Skeletor. Only they have
• 29:28
  Speaker 7: the powers to be.
• 29:31
  Speaker 7: Masters of the Universe.
• 29:33
  Speaker 1: Live the adventure.
• 29:42
  Speaker 5: Woke up this morning, feeling low.
• 29:47
  Speaker 8: Where my loved one used to live, she ain't there
• 29:50
  Speaker 8: no more for me.
• 29:54
  Speaker 7: Why such bad luck fall on me? Hey, Jacqueline.
• 30:11
  Speaker 5: Hi. Guess what?
• 30:13
  Speaker 7: What?
• 30:13
  Speaker 5: We're broke.
• 30:15
  Speaker 7: Yeah, we definitely, I'm pulling up, turning my pockets out
• 30:18
  Speaker 7: right now.
• 30:19
  Speaker 3: Nothing.
• 30:20
  Speaker 5: That's what I'm saying.
• 30:21
  Speaker 6: I do that every week, and yet I'm trying to
• 30:23
  Speaker 6: produce this show for you guys listening right now.
• 30:26
  Speaker 4: Yeah.
• 30:26
  Speaker 5: Yeah.
• 30:27
  Speaker 3: Freeloaders.
• 30:28
  Speaker 6: I'm just saying, you know, if you want to keep
• 30:31
  Speaker 6: this thing rolling, it'd be kind of awesome if you
• 30:34
  Speaker 6: go to our Patreon page and like kick in like, seriously,
• 30:37
  Speaker 6: like two bucks.
• 30:38
  Speaker 5: I mean, you're going to do like Netflix for like $ 9.
• 30:41
  Speaker 3: 99 and you get.
• 30:43
  Speaker 5: And you're probably not going to watch it all month
• 30:45
  Speaker 5: like I do.
• 30:45
  Speaker 7: Yeah, you need our commentary to figure out what to
• 30:49
  Speaker 7: watch on Netflix.
• 30:50
  Speaker 5: I think so.
• 30:51
  Speaker 6: It's like a companion piece to all your Amazons and
• 30:54
  Speaker 6: Netflixes and.
• 30:55
  Speaker 5: All of these things.
• 30:57
  Speaker 6: So just think how much you don't make use of
• 30:59
  Speaker 6: your other streaming services.
• 31:01
  Speaker 5: But every week we're loading up a whole new episode
• 31:03
  Speaker 5: of us.
• 31:04
  Speaker 6: Going in depth more than you may want about whatever
• 31:08
  Speaker 6: movie we decided or bringing in some awesome guests.
• 31:11
  Speaker 1: So I'm just saying two bucks.
• 31:13
  Speaker 5: It's not so bad.
• 31:14
  Speaker 8: Two dollars.
• 31:15
  Speaker 6: You won't even notice it.
• 31:16
  Speaker 5: And you'll look at your bank statement and be like,
• 31:18
  Speaker 5: two dollars. Oh, yeah. Oh, yeah.
• 31:20
  Speaker 3: I'm supporting an artist that I like.
• 31:22
  Speaker 5: That's all I ask for.
• 31:24
  Speaker 6: Trying to keep this thing rolling. And all we need
• 31:27
  Speaker 6: is your assistance. So go to patreon.com slash movie meltdown.
• 31:32
  Speaker 6: Or if you can't remember all that, go to movie meltdown.com.
• 31:34
  Speaker 6: The link is right there at the top of the homepage.
• 31:36
  Speaker 5: That's all you need to do.
• 31:38
  Speaker 7: I contribute more than $ 2 a month.
• 31:40
  Speaker 5: Because you're awesome like that. Why don't you be awesome
• 31:43
  Speaker 5: like Jacqueline? I'm just saying.
• 31:45
  Speaker 3: I mean, really though.
• 31:46
  Speaker 5: I mean, you can't be that awesome, obviously. But you
• 31:49
  Speaker 5: can get closer. You can climb the ladder a little bit.
• 31:53
  Speaker 1: Just saying.
• 31:54
  Speaker 5: Patreon, go support us.
• 31:57
  Speaker 8: All I did, all day long, was fall down on
• 32:02
  Speaker 8: my knees and pray she'd come back home for me.
• 32:09
  Speaker 7: Why such bad luck fall on.
• 32:14
  Speaker 3: Me?
• 32:24
  Speaker 1: This is Roger Corman, and you're listening to Movie Meltdown.
• 32:26
  Speaker 5: It's part of your problem, you know.
• 32:34
  Speaker 4: You haven't seen enough movies.
• 32:36
  Speaker 7: All of life's riddles are answered in the movies.
• 32:41
  Speaker 1: And now, on with the show.
• 32:51
  Speaker 5: So this week's special guest is William Stout. You may
• 32:54
  Speaker 5: know him by name, but if not, you should.
• 32:57
  Speaker 6: And I guarantee you'll be familiar with quite a few
• 32:59
  Speaker 6: of the different projects he's worked on over the years.
• 33:02
  Speaker 6: Starting as a visual artist, he's branched out into so
• 33:05
  Speaker 6: many different areas, and along the way, worked on a
• 33:07
  Speaker 6: lot of different movies, and in a lot of different ways.
• 33:11
  Speaker 6: I've known of William's artwork for years now, seeing him
• 33:13
  Speaker 6: at Wonderfest for pretty much as long as I've been
• 33:15
  Speaker 6: going there. Obviously, looking at his prints and books, you
• 33:18
  Speaker 6: see immediately what a terrific artist he is. It was
• 33:21
  Speaker 6: only as I looked more into his past did I
• 33:23
  Speaker 6: come across all the other.
• 33:25
  Speaker 5: Film work he'd done.
• 33:26
  Speaker 6: Now, my first official interaction with him was a few
• 33:29
  Speaker 6: years back when I was asked by a publication in
• 33:32
  Speaker 6: my town to write a piece about Return of the
• 33:35
  Speaker 6: Living Dead. And they were planning on using William as
• 33:38
  Speaker 6: the main source for the piece since, among other things,
• 33:41
  Speaker 6: he was the production designer for that film. So I
• 33:43
  Speaker 6: did a series of questions with him then specifically about
• 33:47
  Speaker 6: that movie. which turned into a huge written piece that
• 33:50
  Speaker 6: not only looks at that specific film, but also the
• 33:53
  Speaker 6: birth of the modern-day zombie movie and just how it
• 33:56
  Speaker 6: affected the town it was fictionally set in. I eventually
• 34:00
  Speaker 6: posted that written piece in its entirety, William Stout interview
• 34:03
  Speaker 6: and all, on the Movie Meltdown website. So it's there
• 34:06
  Speaker 6: if anyone would like to read that more zombie-focused endeavor.
• 34:10
  Speaker 6: It's called Zombies Ate My City, or How I Learned
• 34:13
  Speaker 6: to Stop Worrying and Love Being Bombed.
• 34:15
  Speaker 5: Appropriately enough.
• 34:17
  Speaker 6: But ever since that written piece, I've wanted to sit
• 34:19
  Speaker 6: down and talk with William about not just his involvement
• 34:22
  Speaker 6: in that movie, which yes, of course, I will still
• 34:25
  Speaker 6: have to touch on as we get going here, but
• 34:28
  Speaker 6: about his whole career. He's lived a fascinating life from
• 34:31
  Speaker 6: his early days drawing underground comics and album art for
• 34:35
  Speaker 6: LA bands, to his move into creating artwork for a
• 34:38
  Speaker 6: huge number of movie posters over the years, and then
• 34:41
  Speaker 6: eventually getting knee-deep into the film world, working as a
• 34:44
  Speaker 6: production designer.
• 34:45
  Speaker 5: Plus, these days, William is equally known as one.
• 34:47
  Speaker 6: Of the greatest artists working in the world of paleoart
• 34:50
  Speaker 6: and dinosaur science. Which, for some of you out there,
• 34:53
  Speaker 6: myself included, that means drawing dinosaurs. Which, yes, he not
• 34:57
  Speaker 6: only does paintings and prints for all his fans out there,
• 35:00
  Speaker 6: but he also does huge murals for museums all over
• 35:02
  Speaker 6: the country. So that gives you a little overall introduction
• 35:06
  Speaker 6: on the man himself. But I say now, we just
• 35:08
  Speaker 6: go and talk.
• 35:09
  Speaker 1: To him directly.
• 35:15
  Speaker 6: Well, normally I talk to a lot of different people
• 35:18
  Speaker 6: and I've talked to a lot of visual artists and
• 35:20
  Speaker 6: I usually kind of like focus on that end of it.
• 35:24
  Speaker 6: But then as you know, I've seen your work for
• 35:26
  Speaker 6: years now. And so the more I looked into some
• 35:28
  Speaker 6: of the stuff you've done, you don't even really fit
• 35:31
  Speaker 6: that because you've fallen into so many different categories over
• 35:35
  Speaker 6: the years.
• 35:35
  Speaker 5: So I guess I.
• 35:36
  Speaker 6: Kind of want to just do more of a general
• 35:39
  Speaker 6: thing and then maybe focus on art and movies and
• 35:42
  Speaker 6: all of it. But I guess early on, what were you,
• 35:45
  Speaker 6: I guess that leads me to that original question. As
• 35:48
  Speaker 6: you're a kid and you're growing up, did you have
• 35:50
  Speaker 6: a direction initially? Did you start leaning towards art or,
• 35:53
  Speaker 6: I mean, you're interested in film as you grow up,
• 35:56
  Speaker 6: you're interested in music. So like which, which thing kind
• 35:58
  Speaker 6: of took hold of you first?
• 35:59
  Speaker 1: Well, it's, it's, I call it the pinball school of
• 36:02
  Speaker 1: career planning, just bouncing around all over the place. Uh,
• 36:07
  Speaker 1: I was always interested in Disney and drawing and cartoons
• 36:11
  Speaker 1: as a kid and did a lot of drawings. But
• 36:15
  Speaker 1: my main focus was on science and nature, and I
• 36:18
  Speaker 1: wanted to be a doctor. I was a science math
• 36:21
  Speaker 1: major all through school up until my very last semester
• 36:24
  Speaker 1: of high school when I switched to art.
• 36:26
  Speaker 5: Like a physical doctor?
• 36:29
  Speaker 1: Yeah, a gynecologist, actually.
• 36:31
  Speaker 5: Very different than dinosaurs?
• 36:33
  Speaker 1: Oh, yeah. Yeah.
• 36:35
  Speaker 5: Well, then that's, I guess, as you get into it,
• 36:38
  Speaker 5: what started, as you start getting more interested in art,
• 36:42
  Speaker 5: what definitely takes hold of you on that? What separates
• 36:44
  Speaker 5: that from the medical field at that point?
• 36:47
  Speaker 1: Well, it's interesting. In the fifth grade, I had a
• 36:52
  Speaker 1: really pivotal experience. My fifth grade teacher caught me drawing
• 36:55
  Speaker 1: in class when I should have been listening. And instead
• 36:59
  Speaker 1: of punishing me, he said, do you have any more
• 37:01
  Speaker 1: drawings like that?
• 37:02
  Speaker 5: Hmm.
• 37:03
  Speaker 1: And the kid next to me said, oh, you should
• 37:04
  Speaker 1: see it. He's got a whole book of them. I said, well,
• 37:07
  Speaker 1: would you bring those in? So I brought in my book.
• 37:10
  Speaker 1: It was actually a Cub Scout scrapbook, but instead of
• 37:14
  Speaker 1: pasting pictures in it, I drew monsters and dinosaurs. And
• 37:18
  Speaker 1: so the teacher looked at it, and he was a
• 37:20
  Speaker 1: teacher that I admired, everybody admired. We really loved this guy.
• 37:24
  Speaker 1: His name was Elliot Wittenberg. And he started assigning me
• 37:28
  Speaker 1: extracurricular courses. activities involved with art from that point on.
• 37:33
  Speaker 1: And he knew I was interested in medicine, so he'd say, Bill,
• 37:36
  Speaker 1: I think the class needs a chart of the human skeleton.
• 37:39
  Speaker 1: So I'd do a big poster drawing of the human skeleton.
• 37:42
  Speaker 1: He'd say, well, I think we need a poster that
• 37:45
  Speaker 1: shows the human musculature system. So I'd do that, and
• 37:49
  Speaker 1: cross-sections the eye and cross-sections the ear and stuff. What
• 37:52
  Speaker 1: I didn't realize is I was teaching myself anatomy. He
• 37:55
  Speaker 1: was tricking. He was wax on, wax off.
• 37:58
  Speaker 6: You didn't realize what he was laying the groundwork for.
• 38:00
  Speaker 1: Yeah, and so that's why when I did my very
• 38:02
  Speaker 1: first dinosaur book in 1981, that's who I dedicated it to.
• 38:06
  Speaker 1: Very cool.
• 38:07
  Speaker 5: It is one of those, every once in a while
• 38:09
  Speaker 5: I hear those stories, and it is good teachers.
• 38:13
  Speaker 6: There's so many, because I remember so many that didn't
• 38:15
  Speaker 6: really seem like they cared growing up.
• 38:17
  Speaker 5: So you find that one, and you're like, oh wait,
• 38:19
  Speaker 5: he gets it.
• 38:21
  Speaker 6: He's supposed to be teaching us and finding what's actually
• 38:24
  Speaker 6: important and about what we're.
• 38:26
  Speaker 1: Doing and turning on the little switches in our.
• 38:28
  Speaker 6: Brain nurturing it yeah it's i think that makes a
• 38:31
  Speaker 6: huge difference a lot easier for him to just punish
• 38:33
  Speaker 6: me yeah and most other teachers probably would have so
• 38:36
  Speaker 6: that yeah that makes a huge difference well then i
• 38:39
  Speaker 6: guess at what point does it start to be like
• 38:42
  Speaker 6: a career path is it all the way through high
• 38:44
  Speaker 6: school you're just still kind of doing it.
• 38:47
  Speaker 1: As soon as i changed my mind changed from uh
• 38:50
  Speaker 1: wanted to study medicine to art. I was really intent
• 38:54
  Speaker 1: on making a living as an artist. And they had
• 38:56
  Speaker 1: a really great policy at the art school that I
• 38:58
  Speaker 1: went to. I went to CalArts, the school that Disney
• 39:01
  Speaker 1: left his money to. In the 30s, they trained his artists.
• 39:05
  Speaker 1: He was always grateful. And that art school, the illustration department,
• 39:11
  Speaker 1: I was an illustration major. They had a great policy,
• 39:13
  Speaker 1: which was if you got any real work in the
• 39:15
  Speaker 1: outside world, you could turn that in in lieu of
• 39:16
  Speaker 1: your homework. Nice. So by my last two years of
• 39:20
  Speaker 1: art school, everything I was turning in was real jobs.
• 39:22
  Speaker 1: So it made the transition from academia to the real
• 39:24
  Speaker 1: world absolutely seamless.
• 39:26
  Speaker 5: Like still in high school, essentially.
• 39:27
  Speaker 1: Fantastic. Yeah. And fortunately for me, I was going to
• 39:32
  Speaker 1: what was perhaps the best art school in the world
• 39:34
  Speaker 1: at that time. We called it by its old name,
• 39:37
  Speaker 1: the Chouinard Art Institute. And the Gosh, the head of
• 39:42
  Speaker 1: the fashion department was Edith Head, who's won more Oscars
• 39:45
  Speaker 1: than any other person in history.
• 39:47
  Speaker 5: Not a minor name.
• 39:48
  Speaker 1: Head of the music department was Ravi Shankar.
• 39:50
  Speaker 5: Jesus.
• 39:52
  Speaker 1: The animation department was taught by Disney's non-old man.
• 39:54
  Speaker 5: This is a decent school.
• 39:57
  Speaker 1: It was pretty spectacular. It's doing okay. It was great.
• 40:00
  Speaker 1: The illustration department, Hal Kramer, he was the very first
• 40:03
  Speaker 1: president of the Society of Illustrators. And I studied privately
• 40:07
  Speaker 1: with Hal for about 20 years after that.
• 40:10
  Speaker 5: Was it, again, still leaning specifically toward illustration?
• 40:14
  Speaker 6: Because then, not further down the road, you end up
• 40:17
  Speaker 6: doing a lot of film work. Is that something that
• 40:19
  Speaker 6: just happened along the way, or were you leaning towards
• 40:22
  Speaker 6: that too?
• 40:23
  Speaker 1: Making movies was sort of an accidental occurrence. I was
• 40:28
  Speaker 1: really focused on illustration, being an illustrator. I was also
• 40:32
  Speaker 1: focused on making money, and I discovered that, at that time,
• 40:35
  Speaker 1: the two highest-paying sources of illustration were Annual reports and
• 40:41
  Speaker 1: movie posters.
• 40:42
  Speaker 3: Yeah.
• 40:42
  Speaker 1: And my work was not sophisticated enough to be in
• 40:45
  Speaker 1: annual reports, but movie posters. Movie posters? I was a
• 40:48
  Speaker 1: movie nut. You know, I used to see everything, everything.
• 40:52
  Speaker 1: I'd go to film festivals. I'd go to movie marathons
• 40:54
  Speaker 1: where you walk into the theater Friday night and don't
• 40:56
  Speaker 1: come out until Sunday night, and you're watching movies 24-7.
• 40:59
  Speaker 5: And that latched onto your artwork where you're drawing the
• 41:02
  Speaker 5: old school monsters when you were a kid still?
• 41:04
  Speaker 3: Oh, yeah.
• 41:05
  Speaker 5: That Cub Scout book was full of Frankensteins.
• 41:07
  Speaker 6: Yeah.
• 41:08
  Speaker 1: So the funny thing about movie posters, though, is that
• 41:10
  Speaker 1: business almost never intersects with the actual making of movies.
• 41:14
  Speaker 1: It's two completely different worlds. I was really fortunate in
• 41:18
  Speaker 1: that I was doing movie posters in the last great
• 41:21
  Speaker 1: golden age of movie poster illustration. Yeah, pretty much. Now
• 41:23
  Speaker 1: it's all photographs and Photoshop.
• 41:26
  Speaker 6: I mean even by the 80s like there was still
• 41:29
  Speaker 6: great working artists doing amazing that's sort of the very
• 41:33
  Speaker 6: end of them doing original art specifically for even a
• 41:37
  Speaker 6: vhs box but you already started seeing them just slapping
• 41:40
  Speaker 6: heads on the front of it and even when there
• 41:43
  Speaker 6: was amazing poster art already made for it the re-release
• 41:47
  Speaker 6: onto vhs or then dvd would just be crop some
• 41:50
  Speaker 6: stars heads on there and just slap it together and
• 41:54
  Speaker 6: As someone just watching that from the other end, I
• 41:56
  Speaker 6: was like, oh, this is just painful because I know
• 41:58
  Speaker 6: the artwork is out there. And they just, studios or
• 42:02
  Speaker 6: production or whoever decided that that wouldn't sell as well,
• 42:04
  Speaker 6: I guess.
• 42:05
  Speaker 1: Yeah. Last man standing was my pal, Bruce Truzan.
• 42:09
  Speaker 7: Yeah.
• 42:10
  Speaker 1: Amazing. Extraordinary. So... A friend of mine, Bob Greenberg, was
• 42:16
  Speaker 1: working as a production assistant on Conan the Barbarian. And
• 42:19
  Speaker 1: I was a huge Robert E. Howard fan. I'd read
• 42:21
  Speaker 1: all the Conan novels and short stories and stuff. I
• 42:24
  Speaker 1: was intrigued, especially when I found out that the production
• 42:27
  Speaker 1: designer was Ron Cobb. Now, I knew Ron Cobb as
• 42:29
  Speaker 1: a political cartoonist. He did the political cartoons for the L.A.
• 42:33
  Speaker 1: Free Press that got distributed all over the country to
• 42:36
  Speaker 1: the different free press newspapers. But I was so busy
• 42:42
  Speaker 1: doing movie posters, there was no time I had. There
• 42:44
  Speaker 1: was no way I could get away to get over
• 42:46
  Speaker 1: to the Conan production offices to see that stuff. Finally,
• 42:49
  Speaker 1: I got a break in my schedule, but instead of
• 42:51
  Speaker 1: going over to the Conan offices, I went to the ABA.
• 42:54
  Speaker 1: It was the American Booksellers Association annual meeting, which happens
• 42:59
  Speaker 1: every year, usually in either New York or L.A. That
• 43:02
  Speaker 1: year it was in L.A. And it's an incredible place
• 43:06
  Speaker 1: for illustrators to pick up work because it's every single
• 43:08
  Speaker 1: publisher and editor in the entire country all in one room.
• 43:12
  Speaker 1: And so I just go booth to booth to booth,
• 43:14
  Speaker 1: show my portfolio, pick up tons of work, and I'm
• 43:16
  Speaker 1: a happy guy.
• 43:18
  Speaker 6: Did you approach the movie poster ideas different than other
• 43:22
  Speaker 6: art projects? Because it seems like it has to do
• 43:24
  Speaker 6: something a little different than just something that you're inspired by.
• 43:29
  Speaker 1: On your own.
• 43:30
  Speaker 5: You're working a little specific.
• 43:32
  Speaker 1: Yeah, with whatever I do, I always let the problem
• 43:34
  Speaker 1: dictate the solution. Yeah. Which is, since I can work
• 43:38
  Speaker 1: in a whole lot of different styles, I don't like
• 43:41
  Speaker 1: forcing one style as a solution to all problems because
• 43:45
  Speaker 1: I just don't think that works as well as just
• 43:48
  Speaker 1: letting the problem dictate its own solution. So I was
• 43:52
  Speaker 1: at the ABA, and the first person I ran into
• 43:54
  Speaker 1: was Ron Cobb. And Ron said, look, you're my first
• 43:59
  Speaker 1: choice of who I want to work with on Conan.
• 44:01
  Speaker 1: But I have this agreement with the director, John Milius,
• 44:04
  Speaker 1: which is he has veto power over anybody I want
• 44:06
  Speaker 1: to bring into the art department. I have veto power
• 44:08
  Speaker 1: over anybody he wants to bring into the art department.
• 44:11
  Speaker 1: So would you mind dropping off your portfolio for John
• 44:14
  Speaker 1: to see it? And I thought, well, boy, making movies,
• 44:17
  Speaker 1: that might be interesting. And so why not? So I
• 44:23
  Speaker 1: went next day to the Conan offices, and John Milius
• 44:26
  Speaker 1: happened to be there, looked through my folio, recalled a,
• 44:30
  Speaker 1: Story I'd done for heavy metal that he really liked,
• 44:32
  Speaker 1: a Harlan Ellison story, Shatter Like a Glass Goblin. And
• 44:37
  Speaker 1: quickly flipped through the rest, handed it back to me,
• 44:39
  Speaker 1: and John's a very dramatic guy. As he's walking out
• 44:42
  Speaker 1: the door over his shoulder, he barks, hire him! So
• 44:46
  Speaker 1: I went in to see Buzz Feichens, our line producer,
• 44:49
  Speaker 1: and Buzz told me what I'd be making on the film,
• 44:51
  Speaker 1: and I nearly fell off the chair laughing, because it
• 44:53
  Speaker 1: was about 10% of what I was making in advertising.
• 44:55
  Speaker 1: But I thought, well, the job's only for two weeks,
• 44:58
  Speaker 1: so it'll be It's movies. It's probably been fun seeing
• 45:01
  Speaker 1: how movies are made.
• 45:02
  Speaker 5: Yeah, it's movies.
• 45:03
  Speaker 1: Might be neat. And the two weeks turned into two
• 45:06
  Speaker 1: years and turned into a film career. And, boy, talk
• 45:09
  Speaker 1: about being at the right place at the right time.
• 45:11
  Speaker 1: We had this receptionist when I started. She was really bright.
• 45:14
  Speaker 1: And within two weeks after I was hired, she was
• 45:18
  Speaker 1: John Milius' personal assistant. And about two months after that,
• 45:21
  Speaker 1: she was Steven Spielberg's personal assistant. And two years after that,
• 45:24
  Speaker 1: she produced E.T. Right place, right time. Kathleen Kennedy. Yeah.
• 45:29
  Speaker 1: And Stephen's, John Milius was executive producing 1941, so Stephen's
• 45:34
  Speaker 1: office was right across from our office. So Ron and
• 45:37
  Speaker 1: I would work on Conan during the day at 6 o'clock,
• 45:40
  Speaker 1: put our pencils down, run over to Stephen's office and
• 45:42
  Speaker 1: kick around ideas for Stephen's next project, which was Raiders
• 45:45
  Speaker 1: of the Lost Ark. Yeah. I thought it was always
• 45:48
  Speaker 1: going to be like that. It was just kind of ridiculous.
• 45:52
  Speaker 6: Well, I mean, coming into Raiders that early, because you
• 45:55
  Speaker 6: ended up doing storyboards for that, right?
• 45:57
  Speaker 1: Yeah, I did storyboards for Raiders, and I was originally
• 45:59
  Speaker 1: hired to do storyboards for Conan. And I started doing
• 46:03
  Speaker 1: traditional storyboards, and Milius looked at me and said, no, no, no,
• 46:06
  Speaker 1: I love your comics work. Can you make these look
• 46:08
  Speaker 1: like comic book pages?
• 46:09
  Speaker 5: It is coming from Conan, yeah.
• 46:11
  Speaker 1: And then he said something I thought was really smart,
• 46:14
  Speaker 1: because I asked him, well, how do you want me
• 46:17
  Speaker 1: to do these boards? He said, oh, just draw the
• 46:20
  Speaker 1: boards as if it was your movie. He said, I
• 46:23
  Speaker 1: already know. I wrote the script. He said, I know everything.
• 46:26
  Speaker 1: Every shot in my head, how I'm going to shoot this.
• 46:28
  Speaker 1: But if you come up with something better, I'll use
• 46:31
  Speaker 1: that and I'll take credit for it.
• 46:33
  Speaker 6: But that's a good filmmaker to know, like, to bring
• 46:36
  Speaker 6: in other people and to apply what they have.
• 46:38
  Speaker 5: To make a better final product.
• 46:40
  Speaker 1: Yeah, cherry pick all the best ideas. That's great. Very smart. Yeah,
• 46:44
  Speaker 1: this is a brilliant guy.
• 46:47
  Speaker 6: But as you, I guess, on the Raiders thing, was
• 46:51
  Speaker 6: that concept already... pretty solid what became the final or
• 46:55
  Speaker 6: was there still because he was still pulling from so
• 46:57
  Speaker 6: many different old serial ideas was it pretty set into
• 47:01
  Speaker 6: what became the final finished movie.
• 47:04
  Speaker 1: That was no it was part of a whole process
• 47:07
  Speaker 1: of it developing because i remember when it was first
• 47:09
  Speaker 1: proposed it was first proposed by george and steven uh
• 47:13
  Speaker 1: their idea was let's revive like the feel of the
• 47:17
  Speaker 1: old serials yeah and i would sit with them and
• 47:19
  Speaker 1: we'd watch a bunch of these serials and I could
• 47:22
  Speaker 1: see by the expressions on their face how disappointed they were.
• 47:25
  Speaker 1: It's like, God, I thought these were better than I remembered.
• 47:28
  Speaker 1: And so what they did was really smart. They made
• 47:31
  Speaker 1: an old cereal the way they imagined it was. Yeah.
• 47:36
  Speaker 1: And made it much more exciting. Yeah. And really got
• 47:39
  Speaker 1: down to the essence of what made that stuff kind
• 47:41
  Speaker 1: of exciting. Very cool.
• 47:43
  Speaker 6: Well, then, as you go in, because, again, looking at
• 47:45
  Speaker 6: the different things, this is one I wanted to address
• 47:47
  Speaker 6: with you because there's so many different titles that you get.
• 47:51
  Speaker 6: attached to, and so many different people working on movies,
• 47:55
  Speaker 6: do you differentiate as you go in? Because each one,
• 47:58
  Speaker 6: I guess, has its own separate set of responsibilities, but
• 48:00
  Speaker 6: when you're a production designer, and then you get brought
• 48:03
  Speaker 6: in as a storyboard artist, and then as you get
• 48:05
  Speaker 6: later on, it's like working with props and sets.
• 48:08
  Speaker 5: And I don't know, how do you approach.
• 48:10
  Speaker 6: each different area that you're put into, and how vastly
• 48:14
  Speaker 6: different are all those jobs, really?
• 48:15
  Speaker 1: Well, every film I've worked on has been different, and
• 48:19
  Speaker 1: the jobs have been different. I've been a production designer
• 48:21
  Speaker 1: on a few films. Some films, they just want me
• 48:23
  Speaker 1: to do creature design, like Predator, or Men in Black.
• 48:26
  Speaker 1: I did creature design for that. But when I'm a
• 48:30
  Speaker 1: production designer, basically for those folks out there who don't
• 48:34
  Speaker 1: know what a production designer is, he's the eyes of
• 48:36
  Speaker 1: the director. So I'm responsible for everything you see on
• 48:40
  Speaker 1: the screen except for the performances of the actors. So
• 48:43
  Speaker 1: all the special effects, special effects makeups, sets, set decoration,
• 48:49
  Speaker 1: all the stuff is under my domain. Typically I'll have
• 48:51
  Speaker 1: about 1,250 people working under me.
• 48:54
  Speaker 5: So everybody does their section, the set people.
• 48:56
  Speaker 3: Right.
• 48:57
  Speaker 5: Put it together, and then you make sure it all
• 48:59
  Speaker 5: kind of meshes.
• 49:00
  Speaker 1: Into one thing. And a lot of that job for
• 49:02
  Speaker 1: me is managerial, and so much so that on Masters
• 49:05
  Speaker 1: of the Universe, the only time I had to actually
• 49:08
  Speaker 1: design the film was Saturdays and Sundays. So I'd work
• 49:11
  Speaker 1: all day Saturday, all day Sunday, so that on Monday
• 49:14
  Speaker 1: morning I could hand off designs to each of my
• 49:16
  Speaker 1: department heads for them to get started building.
• 49:18
  Speaker 5: So you were like, where you come up with the
• 49:20
  Speaker 5: concept for the sets.
• 49:21
  Speaker 1: On that one? The sets, the costumes, the monsters, the creatures.
• 49:26
  Speaker 1: Sometimes I'll storyboard a scene and then build to those
• 49:30
  Speaker 1: storyboards so that we won't waste any money by building
• 49:32
  Speaker 1: anything that's not going to be on camera.
• 49:34
  Speaker 5: That's key when you're dealing with this kind of budget.
• 49:36
  Speaker 1: I love saving money as I say any idiot can
• 49:40
  Speaker 1: make a $ 10 million film look like a $ 10 million film.
• 49:44
  Speaker 1: My job is to make a $ 10 million film look
• 49:46
  Speaker 1: like a $ 100 million film. Definitely.
• 49:49
  Speaker 5: So then, again, something like Masters.
• 49:52
  Speaker 6: Of the Universe, I mean, that's such a huge production
• 49:55
  Speaker 6: at that point. How do you fit into the day-to-day
• 49:59
  Speaker 6: part of it when you're doing that? Because you said
• 50:00
  Speaker 6: you're mostly just focusing on the weekend, but how does...
• 50:04
  Speaker 6: As they're shooting, are they checking in with you, or
• 50:06
  Speaker 6: do you kind of watch everything behind them and go, no, no,
• 50:09
  Speaker 6: you've got to do this, and how do you keep
• 50:11
  Speaker 6: everything in line?
• 50:11
  Speaker 1: Well, I'm real hands-on. I'm on the set every day
• 50:14
  Speaker 1: as a production designer, making sure that we're not late
• 50:18
  Speaker 1: on anything, everything's in place. I'm also interfering with the
• 50:23
  Speaker 1: director of photography because I'm checking out his lights, how's
• 50:26
  Speaker 1: he going to light my set, because I have very
• 50:29
  Speaker 1: specific color plans for each shot and each scene and stuff,
• 50:32
  Speaker 1: and I don't want to come on the set and
• 50:35
  Speaker 1: find he's throwing a red light on everything, which just
• 50:37
  Speaker 1: kills all the color.
• 50:41
  Speaker 5: Well, then, I guess, again, of the many hats you're
• 50:44
  Speaker 5: wearing around that time, you're also writing. So I was
• 50:47
  Speaker 5: going to throw out just to... Mostly because I've always
• 50:50
  Speaker 5: kind of loved what Gorman's done, so working on, like,
• 50:52
  Speaker 5: The Warrior and the Sorceress.
• 50:53
  Speaker 1: Yeah, Roger bought my first screenplay.
• 50:56
  Speaker 5: I mean, had you already met him through people beforehand?
• 51:00
  Speaker 1: No, what happened was... either I saw an ad or
• 51:08
  Speaker 1: I think a guy called me up. His name was
• 51:09
  Speaker 1: John Broderick and he had been a production manager and
• 51:13
  Speaker 1: he's sort of a wannabe director. And he called me
• 51:17
  Speaker 1: up and he, and he said, are you familiar with gore?
• 51:22
  Speaker 1: And I, and I thought he was talking about G
• 51:23
  Speaker 1: O R E.
• 51:24
  Speaker 5: That's what I would.
• 51:25
  Speaker 1: And I said, yeah, sure.
• 51:26
  Speaker 3: Yeah.
• 51:27
  Speaker 1: I know all that stuff.
• 51:28
  Speaker 3: Yeah.
• 51:28
  Speaker 1: I see all the, Oh great. Cause I'm, I'm wanting
• 51:32
  Speaker 1: to do this movie. And so we got together, and
• 51:38
  Speaker 1: I ended up starting to write it. And I realized
• 51:41
  Speaker 1: very soon, oh, he's talking about G.O.R., the John Norman worlds.
• 51:47
  Speaker 1: You know, it's sort of soft core sword and sorcery. Yeah,
• 51:53
  Speaker 1: it's its own little world. But by then, I was in,
• 51:58
  Speaker 1: you know, shoulder deep in the writing of the script,
• 52:01
  Speaker 1: which was originally called Cane of Dark Planet. And it
• 52:05
  Speaker 1: was one of the hardest things I ever did because
• 52:08
  Speaker 1: every time I'd write it, he'd go through, just rip
• 52:10
  Speaker 1: it to shreds and, okay, start over. And it was
• 52:12
  Speaker 1: like I felt like I was flaying my own skin
• 52:15
  Speaker 1: off my body. But finally, the screenplay got finished, and
• 52:20
  Speaker 1: then he pitched it to Roger. And then John lied
• 52:25
  Speaker 1: to me. and said that roger passed on actually roger
• 52:28
  Speaker 1: said yeah i'll green like this uh we just finished
• 52:31
  Speaker 1: a film down in argentina we still got sets up
• 52:33
  Speaker 1: go down and make it sounds like roger yep so
• 52:36
  Speaker 1: john did that uh john was down there in argentina
• 52:40
  Speaker 1: and i called into uh corman's office to talk to
• 52:44
  Speaker 1: the art director there because i've been doing posters for
• 52:47
  Speaker 1: corman did rock and roll high school up from the
• 52:49
  Speaker 1: depths and lady in red and i said so you
• 52:51
  Speaker 1: know so what's going on now what what what's Roger producing?
• 52:54
  Speaker 1: He said, oh, he's, he's producing this film called King
• 52:57
  Speaker 1: of Dark Planet. I went, what? He says, yeah. I said,
• 53:02
  Speaker 1: do you have the screenplay there by any chance? He goes,
• 53:04
  Speaker 1: oh yeah, yeah. I said, read, read, read me the
• 53:08
  Speaker 1: first page. It says King of Dark Planet by John Broderick.
• 53:11
  Speaker 1: I go, and? And, uh, I go, okay. So I
• 53:16
  Speaker 1: called my attorney and he, he got right on it.
• 53:19
  Speaker 1: And Roger's a really honest guy. Roger immediately, uh, took
• 53:23
  Speaker 1: it out of the director's pay and paid me for
• 53:25
  Speaker 1: the screenplay. And then when the film was finished, Roger
• 53:30
  Speaker 1: called me up and said, you know, I'd like to
• 53:32
  Speaker 1: show you the poster for the film. So, oh, great.
• 53:35
  Speaker 1: So I went over to the New World offices, and
• 53:38
  Speaker 1: Roger was really proud. And I looked, I go, wow, oh,
• 53:42
  Speaker 1: you changed the title. It's Warrior and the Sorceress. Okay,
• 53:45
  Speaker 1: but Roger, there's no sorceress in the movie.
• 53:48
  Speaker 5: There's not.
• 53:49
  Speaker 1: He says, Bill, you have to understand, by changing the
• 53:53
  Speaker 1: title to Warrior and the Sorceress, it allows us to
• 53:55
  Speaker 1: put a sexy sorceress in the poster. That's all that's important.
• 53:59
  Speaker 1: That will get butts in the seats, and once we
• 54:01
  Speaker 1: have their money, who cares if there's a sorceress?
• 54:05
  Speaker 5: I kind of love his approach.
• 54:08
  Speaker 6: I should be opposed to it, but yet he's so
• 54:10
  Speaker 6: charming about it.
• 54:11
  Speaker 2: It's amazing.
• 54:12
  Speaker 1: He's really charming. He's a wonderful guy and incredibly smart.
• 54:17
  Speaker 3: Yeah.
• 54:18
  Speaker 1: Oh, my God. The documentary on him is just terrific.
• 54:22
  Speaker 1: It's really terrific.
• 54:23
  Speaker 6: So was he, again, I feel like he distanced himself
• 54:27
  Speaker 6: as time went on. At that point, was he still
• 54:29
  Speaker 6: pretty hands-on and dealing with anything on the set when
• 54:32
  Speaker 6: you were making it?
• 54:33
  Speaker 1: He was hands-on, yeah, I think with all his productions.
• 54:35
  Speaker 1: He would look at things, and he was very precise
• 54:38
  Speaker 1: with his comments. I remember I saw him talking to
• 54:41
  Speaker 1: Ronnie Howard. He says, you know, ten minutes into the film,
• 54:44
  Speaker 1: you need to cut two frames there.
• 54:46
  Speaker 3: Okay.
• 54:46
  Speaker 1: And it's like, whoa.
• 54:47
  Speaker 5: Again, he's just a master of how to piece this
• 54:50
  Speaker 5: stuff together.
• 54:51
  Speaker 1: Plus, he had a massive knowledge of film history, too.
• 54:54
  Speaker 1: Very familiar with Fellini and Kurosawa and all the great filmmakers.
• 54:59
  Speaker 5: That's funny, being what he's known for.
• 55:01
  Speaker 6: As schlocky as everybody throws his stuff into, it's like
• 55:04
  Speaker 6: he's so smart about how he does it.
• 55:06
  Speaker 1: Yeah. He was getting a Lifetime Achievement Award. Yeah. And
• 55:11
  Speaker 1: I found out about it. I thought, oh, I should
• 55:13
  Speaker 1: just go over there and show support for Roger. He's
• 55:15
  Speaker 1: been so nice to me.
• 55:16
  Speaker 3: Yeah.
• 55:16
  Speaker 1: And went there and talked to Roger, and Roger blew
• 55:20
  Speaker 1: my mind. He knew every film I had worked on.
• 55:24
  Speaker 1: He was like, he had been following my career since
• 55:27
  Speaker 1: War and the Sorceress. That's crazy. And I was just,
• 55:29
  Speaker 1: I was astounded. I was like, Roger, you don't have
• 55:32
  Speaker 1: time for that.
• 55:33
  Speaker 6: You're making 17 movies right now. Well, then again, I
• 55:37
  Speaker 6: was looking at some of the other credit, and it's
• 55:40
  Speaker 6: funny that you get almost very specific credits there. that
• 55:43
  Speaker 6: made me wonder how the jobs can like house was what,
• 55:46
  Speaker 6: like a special creature design or special paintings.
• 55:49
  Speaker 1: Oh, how house was, well, Steve minor, the director and
• 55:53
  Speaker 1: producer of house, he wanted me to production design the film,
• 55:56
  Speaker 1: but I just signed a contract with Disney to, uh,
• 56:00
  Speaker 1: work for Walt Disney Imagineering for a while.
• 56:02
  Speaker 3: Yeah.
• 56:03
  Speaker 1: And I always honor my contracts. I don't break contracts. Uh,
• 56:08
  Speaker 1: but I wanted to help Steve out. And, The main
• 56:13
  Speaker 1: character in House is William Catt, and he played sort
• 56:16
  Speaker 1: of a Stephen King-style writer who was living in the
• 56:19
  Speaker 1: house of his aunt, and she was a painter. So
• 56:23
  Speaker 1: my studio mate Richard Hescox and I, we did all
• 56:25
  Speaker 1: the paintings that she supposedly had painted. Plus I did
• 56:29
  Speaker 1: the original art, presentation art, for the film that got
• 56:33
  Speaker 1: the financing for the movie. That's important too.
• 56:36
  Speaker 6: But something like that is... so different than like the project.
• 56:40
  Speaker 6: So I'm like, do these, do you just get these
• 56:42
  Speaker 6: jobs sent to you this far in? Like when you're,
• 56:45
  Speaker 6: when you're already a little bit established, do things just
• 56:47
  Speaker 6: make their way to you? And like, again, cause they're
• 56:50
  Speaker 6: so vastly, okay, I guess I'm painting paintings this week.
• 56:52
  Speaker 6: And instead of setting up the production, you know.
• 56:56
  Speaker 1: It's, well, at that time, every January I'd get about
• 56:58
  Speaker 1: six film offers and I'd have to figure out, okay,
• 57:01
  Speaker 1: which one do I want to do the most? What
• 57:03
  Speaker 1: sounds the most interesting, which, you know, I mean, that's
• 57:07
  Speaker 1: the basic call, which is going to be the most
• 57:09
  Speaker 1: fun or the most interesting to make. And then if
• 57:13
  Speaker 1: I'm working as a production designer, that's seven days a week,
• 57:18
  Speaker 1: minimum 18-hour days, so I don't have time for anything else.
• 57:22
  Speaker 1: But in between films, sometimes... Well, I was working for
• 57:26
  Speaker 1: Spielberg on a project called GameWorks. It was a joint
• 57:30
  Speaker 1: project between DreamWorks... Universal and Sega. And it was gaming clubs.
• 57:39
  Speaker 5: It's pretty huge then.
• 57:40
  Speaker 1: And I was working for Steven designing the first three
• 57:44
  Speaker 1: of those clubs. And I got a phone call from ILM.
• 57:48
  Speaker 1: And they were in a panic. They had just spent
• 57:50
  Speaker 1: nine months animating the big bug creature, Edgar, at the
• 57:54
  Speaker 1: end of Men in Black. And they showed it to Steven.
• 57:57
  Speaker 1: And Steven said, not scary enough. And they were like, oh, no.
• 58:01
  Speaker 2: Because it was finished, man.
• 58:03
  Speaker 5: It was done. What are we going to do?
• 58:05
  Speaker 1: And someone there said, hey, he loves Bill Stout's stuff.
• 58:10
  Speaker 1: Call Bill and have him redesign it.
• 58:13
  Speaker 6: How early on had you met him? Or was he
• 58:16
  Speaker 6: just a fan from the outside?
• 58:17
  Speaker 1: Oh, Stephen, well, since I shared offices with him on Raiders,
• 58:22
  Speaker 1: we've known each other ever since. So I got the
• 58:26
  Speaker 1: call from ILM. They said, We need you to redesign
• 58:30
  Speaker 1: this big bug, but not too much. We'd like to
• 58:33
  Speaker 1: retain as much as possible. Just can you make it
• 58:35
  Speaker 1: a little scarier? Yeah, that's exactly what it was. And
• 58:40
  Speaker 1: so I actually, while I was on the phone, I
• 58:42
  Speaker 1: started sketching. Let's get this started. And I got them
• 58:47
  Speaker 1: a new design, I think, within 24 hours. And then
• 58:52
  Speaker 1: just returned to my work on GameWorks.
• 58:54
  Speaker 2: Interesting.
• 58:54
  Speaker 5: So, yeah, just constantly shifting back and forth.
• 58:57
  Speaker 1: Yeah.
• 58:58
  Speaker 5: That's what you have to do. One of the big
• 59:01
  Speaker 5: ones and one I talked to you.
• 59:02
  Speaker 6: About years ago and what led me to this was
• 59:05
  Speaker 6: obviously Return of the Living Dead. So that I just
• 59:08
  Speaker 6: sort of wanted to readdress. some of the basics of
• 59:11
  Speaker 6: like at what point did you get involved? Was Dan
• 59:14
  Speaker 6: O'Bannon already like knee deep in it by the time.
• 59:16
  Speaker 5: You got involved?
• 59:18
  Speaker 1: No, I got involved really early on in Return of
• 59:20
  Speaker 1: the Living Dead when Dan called. Well, the way it
• 59:24
  Speaker 1: came about was Dan O'Bannon was really close friends with
• 59:29
  Speaker 1: Ron Cobb. And Ron was a very gregarious guy, and
• 59:32
  Speaker 1: he'd very often host parties at his home in Santa Monica,
• 59:35
  Speaker 1: and he'd always invite me. And I liked to bring
• 59:39
  Speaker 1: work I was currently working on outside of Conan, just
• 59:42
  Speaker 1: to get feedback and reaction stuff. And Dan O'Bannon was
• 59:45
  Speaker 1: always really up front and center whenever I was showing work,
• 59:49
  Speaker 1: and he was really intrigued by it. And what I
• 59:51
  Speaker 1: didn't know is that he was considering me as the
• 59:54
  Speaker 1: production designer for Return of the Living Dead. but he
• 59:58
  Speaker 1: had doubts as to whether I could do the tech stuff.
• 1:00:01
  Speaker 1: So one night at one of Ron's parties, I brought
• 1:00:05
  Speaker 1: this cover I'd done for Alien Worlds, and it showed
• 1:00:07
  Speaker 1: this astronaut sinking into the ground with all these little
• 1:00:10
  Speaker 1: creatures surrounding him. And the tech nature of the suit,
• 1:00:16
  Speaker 1: Dan saw that, and he goes, ah, Stout can do tech.
• 1:00:18
  Speaker 1: This is great. So that solidified his choice.
• 1:00:21
  Speaker 5: That is a different mode now that I think about it,
• 1:00:23
  Speaker 5: because you do.
• 1:00:25
  Speaker 6: natural world stuff so well that that's a very different
• 1:00:28
  Speaker 6: ship to do something biomechanical or something so that's.
• 1:00:32
  Speaker 1: So then uh dan gave our line producer graham henderson
• 1:00:36
  Speaker 1: a very short list of who we wanted to be
• 1:00:38
  Speaker 1: production designers first choice is bernie wrightson the second choice
• 1:00:41
  Speaker 1: was me it's.
• 1:00:42
  Speaker 5: A good list to be on and so uh.
• 1:00:45
  Speaker 1: Graham was instructed to hire one of us and graham
• 1:00:48
  Speaker 1: quickly did his homework found out that i already had
• 1:00:51
  Speaker 1: worked on a whole number of films yeah And I
• 1:00:53
  Speaker 1: think Bernie was just beginning his film career. He was
• 1:00:56
  Speaker 1: probably on Ghostbusters at about that time. And so he said, well,
• 1:01:00
  Speaker 1: this guy's done a lot of movies. This guy hasn't
• 1:01:02
  Speaker 1: done any. Even though I know he wants this other
• 1:01:06
  Speaker 1: guy first, he called me first. Yeah, he got the experience.
• 1:01:09
  Speaker 1: We made a deal. And then he called Dan and
• 1:01:12
  Speaker 1: he lied. And he said, well, I called Bernie. Bernie
• 1:01:14
  Speaker 1: turned it down. But I got stout.
• 1:01:16
  Speaker 5: There's a lot of lying going on in these deals.
• 1:01:18
  Speaker 1: Yeah. Oh, man.
• 1:01:20
  Speaker 5: But I guess that's the business more than anything.
• 1:01:22
  Speaker 1: Oh, yeah.
• 1:01:23
  Speaker 6: So then, again, how, because I constantly on this show
• 1:01:27
  Speaker 6: reference how radically different that film is, mostly.
• 1:01:31
  Speaker 5: In the zombie genre.
• 1:01:33
  Speaker 1: Yeah, because of Dan.
• 1:01:34
  Speaker 6: Because of, so again, had he discussed, that's what I'm
• 1:01:38
  Speaker 6: mostly wondering, were these conscious decisions that he was changing
• 1:01:41
  Speaker 6: the mythology because all of these things that the fact
• 1:01:44
  Speaker 6: that They're now sort of conscious of what's going on.
• 1:01:47
  Speaker 5: They can speak.
• 1:01:49
  Speaker 6: They kind of run fast years before anybody addressed that
• 1:01:52
  Speaker 6: as a thing. So it's like, did he consciously realize
• 1:01:55
  Speaker 6: he was making these changes to the zombie lore?
• 1:01:58
  Speaker 1: Oh, absolutely. Dan was a total visionary. One of the
• 1:02:03
  Speaker 1: most visual directors I've ever worked with. He's just extraordinary.
• 1:02:07
  Speaker 1: And the first day on the film, he said, Bill,
• 1:02:11
  Speaker 1: you know how In regular films, there's principal characters. I go, yeah.
• 1:02:15
  Speaker 1: He says, our film's going to have principal zombies. I
• 1:02:17
  Speaker 1: want you to design me zombies that are unique to
• 1:02:20
  Speaker 1: our film, like no one's ever seen.
• 1:02:22
  Speaker 5: And Tarman was born.
• 1:02:24
  Speaker 1: And the half-corps. Yeah. So that was a blast. I
• 1:02:28
  Speaker 1: love that direction, and it was why our film was
• 1:02:31
  Speaker 1: so different from the Romero films. Definitely. And that was
• 1:02:33
  Speaker 1: something Dan was adamant about. He didn't want our films
• 1:02:37
  Speaker 1: to look like a Romero movie.
• 1:02:39
  Speaker 6: Again, was it a conscious, because it feels like, it
• 1:02:43
  Speaker 6: actually did hit like a whole new generation. It's like,
• 1:02:46
  Speaker 6: these are the old way that we made zombie movies.
• 1:02:48
  Speaker 6: And this is like, you know, the, the cutting edge
• 1:02:50
  Speaker 6: 1980s way to make a zombie movie. So again, he
• 1:02:53
  Speaker 6: was kind of gearing it for like this new audience
• 1:02:55
  Speaker 6: coming up.
• 1:02:56
  Speaker 1: Yep. And that concept of the eating brains right away,
• 1:02:59
  Speaker 1: I thought, Oh, I know what it is. They're eating
• 1:03:02
  Speaker 1: brains for the endorphins. Yeah. You know, take away the pain.
• 1:03:05
  Speaker 1: And I mentioned that to Danny said, Oh, I never
• 1:03:09
  Speaker 1: thought of that, but I'll take credit for that.
• 1:03:11
  Speaker 6: That's one of the things I was going to ask
• 1:03:13
  Speaker 6: because that's like giving them a reason, giving it not
• 1:03:15
  Speaker 6: just random flesh eaters, but now they're eating a specific
• 1:03:19
  Speaker 6: thing and.
• 1:03:20
  Speaker 5: For a specific reason. That's amazing that it changed the
• 1:03:23
  Speaker 5: whole mythology.
• 1:03:24
  Speaker 2: Yeah.
• 1:03:25
  Speaker 5: And now there's a whole.
• 1:03:25
  Speaker 6: New thread if you want to work that into your
• 1:03:28
  Speaker 6: new zombie movies. So I guess that, again, you were
• 1:03:32
  Speaker 6: at least production designer among many, many other things.
• 1:03:34
  Speaker 5: What all did it entail putting that together?
• 1:03:37
  Speaker 3: Yeah.
• 1:03:38
  Speaker 1: Oh, that one, that was one of the hardest films
• 1:03:40
  Speaker 1: I ever worked on. We had a very low budget,
• 1:03:42
  Speaker 1: a million and a half. Yeah. And it was pretty brutal.
• 1:03:48
  Speaker 1: But I designed all the sets, designed all the creatures,
• 1:03:51
  Speaker 1: all the zombies. I was really hands-on. I came up
• 1:03:57
  Speaker 1: with this idea that when all the dead stuff starts
• 1:04:01
  Speaker 1: coming back to life, we're in a biological supply warehouse.
• 1:04:05
  Speaker 1: So I got a whole bunch... big book on butterflies
• 1:04:08
  Speaker 1: and cut them out and then, uh, made like a
• 1:04:11
  Speaker 1: butterfly collection, you know, pinned them and stuff and then
• 1:04:14
  Speaker 1: hung it on the wall. And, uh, so it's in
• 1:04:17
  Speaker 1: the scene. And when stuff starts coming to life, I
• 1:04:19
  Speaker 1: was behind the camera, fanning the butterflies, making their wings
• 1:04:23
  Speaker 1: flutter so that even the butterflies were coming back to life.
• 1:04:26
  Speaker 1: So zombie butterflies. Yeah.
• 1:04:29
  Speaker 5: And I like that you're over there moving stuff yourself,
• 1:04:31
  Speaker 5: like hands on, literally making this.
• 1:04:33
  Speaker 1: Oh yeah. The half corpse, uh, That was me, Tony Gardner,
• 1:04:38
  Speaker 1: and Brian Peck underneath that gurney operating. I was operating
• 1:04:42
  Speaker 1: the spine, making it flop around in his spinal fluid. See,
• 1:04:47
  Speaker 1: Brian was doing the head, and he was also doing
• 1:04:50
  Speaker 1: temporary voice track for it. And then Tony Gardner, who
• 1:04:54
  Speaker 1: sculpted the whole thing and created the whole thing, he
• 1:04:56
  Speaker 1: was operating the arms.
• 1:04:59
  Speaker 6: And then how conscious, I mean, obviously he meant to
• 1:05:03
  Speaker 6: sort of take a left turn and make it, comedic
• 1:05:06
  Speaker 6: but how because that's something that's so hard to do
• 1:05:08
  Speaker 6: in general is make a comedy work then to do
• 1:05:10
  Speaker 6: the balance of comedy and horror so like how on
• 1:05:14
  Speaker 6: set how conscious is Dan O'Bannon and you like in
• 1:05:17
  Speaker 6: trying to make sure this is landing the way it
• 1:05:20
  Speaker 6: needs to.
• 1:05:21
  Speaker 1: Well again that really fell on Dan's shoulders and he
• 1:05:26
  Speaker 1: had such a clear vision he knew that to make
• 1:05:29
  Speaker 1: the comedy work it all had to be played straight
• 1:05:33
  Speaker 1: and that making it realistic like that made the comedy
• 1:05:38
  Speaker 1: even funnier. It's like when they, when they, when they
• 1:05:41
  Speaker 1: checked the, the two guys, they checked their temperature and
• 1:05:45
  Speaker 1: it's 70 degrees.
• 1:05:46
  Speaker 5: And what is that?
• 1:05:47
  Speaker 1: That's room temperature.
• 1:05:50
  Speaker 6: My favorite, my favorite line. And I don't know, again,
• 1:05:53
  Speaker 6: I don't know if it's just the way it's delivered.
• 1:05:56
  Speaker 6: If it's his re is like, and it's before it really,
• 1:05:59
  Speaker 6: that's right. When it, the drum busts open and you
• 1:06:02
  Speaker 6: get him and he's like, look.
• 1:06:03
  Speaker 5: If you like this job, and his read is like
• 1:06:05
  Speaker 5: this job.
• 1:06:07
  Speaker 6: I was like, it is my favorite moment maybe of
• 1:06:11
  Speaker 6: the entire movie.
• 1:06:12
  Speaker 5: That read is so hilarious.
• 1:06:15
  Speaker 6: So, yeah, it's like those weird little moments that kind
• 1:06:17
  Speaker 6: of make it click and make it just fall together
• 1:06:20
  Speaker 6: so perfectly.
• 1:06:21
  Speaker 1: Yeah, and it's really tough to pull off. I mean,
• 1:06:24
  Speaker 1: you can count on one hand the films that are
• 1:06:26
  Speaker 1: successful at being both scary and And funny at the
• 1:06:29
  Speaker 1: same time.
• 1:06:30
  Speaker 9: Yeah.
• 1:06:30
  Speaker 1: Shaun of the Dead, Abbott and Costello meet Frankenstein. Our
• 1:06:33
  Speaker 1: movie in... I don't know. A hand.
• 1:06:36
  Speaker 6: Yeah, I mean, there's Zombieland's semi-successful, but yeah, there's a
• 1:06:40
  Speaker 6: few that try really hard and don't do it. So, yeah, that's...
• 1:06:44
  Speaker 6: And then, it also didn't... Again, what was both of
• 1:06:48
  Speaker 6: your take on the response to the movie?
• 1:06:50
  Speaker 1: Because.
• 1:06:51
  Speaker 5: It's like it found its audience, but it took it
• 1:06:53
  Speaker 5: years and years and.
• 1:06:54
  Speaker 6: Years before it really got to the point it is
• 1:06:56
  Speaker 6: now where it's so respected.
• 1:06:57
  Speaker 5: But at the time, it just kind of came out
• 1:06:59
  Speaker 5: as another horror movie.
• 1:07:01
  Speaker 1: Yeah. It wasn't given a big publicity or public push
• 1:07:08
  Speaker 1: to the forefront of the public's consciousness. It kind of
• 1:07:10
  Speaker 1: found its own audience, and then that audience just grew
• 1:07:13
  Speaker 1: and grew and grew. And today, it's so much more
• 1:07:17
  Speaker 1: popular than when it first came out. It's unbelievable.
• 1:07:19
  Speaker 3: Yeah.
• 1:07:20
  Speaker 6: I mean, it kind of rivals the Romero stuff, even
• 1:07:22
  Speaker 6: to this day. Even the legacy that he has, there's
• 1:07:25
  Speaker 6: so many fans coming.
• 1:07:26
  Speaker 1: Up that love that one just as much. Yeah. Whenever
• 1:07:28
  Speaker 1: they have a screening in L.A., it sells out in minutes. Yeah.
• 1:07:31
  Speaker 1: It's just amazing.
• 1:07:32
  Speaker 5: It's amazing the fan base that it's found.
• 1:07:35
  Speaker 1: The other amazing thing, and this was a gift that
• 1:07:37
  Speaker 1: Dan gave us. Dan? got two weeks of rehearsal for
• 1:07:42
  Speaker 1: the actors prior to shooting. And since it hadn't been
• 1:07:45
  Speaker 1: fully cast yet, I filled in and read parts for
• 1:07:49
  Speaker 1: the parts that hadn't been cast yet. And what this did,
• 1:07:52
  Speaker 1: it created this real bond with me and with the
• 1:07:56
  Speaker 1: cast members and among the cast members themselves so that
• 1:08:00
  Speaker 1: when it got time to shoot, you really had the
• 1:08:02
  Speaker 1: feeling that these people were friends, that they knew each other,
• 1:08:05
  Speaker 1: that there was a whole history behind them. And That's
• 1:08:09
  Speaker 1: the only film I've worked on where I've stayed really
• 1:08:12
  Speaker 1: close and tight with the entire cast of the film.
• 1:08:14
  Speaker 1: We're all still really good friends. For the 25th anniversary,
• 1:08:18
  Speaker 1: we toured the country for two years, hitting all the
• 1:08:20
  Speaker 1: horror conventions and stuff. It's just amazing.
• 1:08:24
  Speaker 6: Seeing everybody out on the circuit at that point.
• 1:08:27
  Speaker 1: Well, Dan and I, before the film was cast, and
• 1:08:31
  Speaker 1: Dan involved me in the casting, too. He would show
• 1:08:33
  Speaker 1: me reels and stuff. What do you think of this guy?
• 1:08:35
  Speaker 1: Look at this guy, Don Coppa. Look at those eyes.
• 1:08:38
  Speaker 3: Wow.
• 1:08:40
  Speaker 5: Rightfully so.
• 1:08:41
  Speaker 1: But Dan and I went all over Los Angeles to
• 1:08:45
  Speaker 1: different mortuaries and cemeteries to see what crematoriums look like,
• 1:08:49
  Speaker 1: to see what mortuaries look like and all that stuff.
• 1:08:54
  Speaker 1: It was more than I ever wanted to learn about
• 1:08:58
  Speaker 1: those businesses.
• 1:08:59
  Speaker 5: Fun.
• 1:09:00
  Speaker 1: Every single place we went to, as we're walking back
• 1:09:04
  Speaker 1: to the car, an employee would come running out and
• 1:09:08
  Speaker 1: they'd have this frantic look in their eyes. They're saying, look,
• 1:09:12
  Speaker 1: I just got to tell somebody they're having sex with
• 1:09:15
  Speaker 1: the corpses in there. Every single place. Yeah. It was like, oh, no.
• 1:09:21
  Speaker 6: That's not the kind of movie we're making, but all right.
• 1:09:24
  Speaker 6: I can probably get you some guys that are interested
• 1:09:26
  Speaker 6: in that. That's not what we're doing. Well, that's what
• 1:09:30
  Speaker 6: I was wondering, too, is like at that point, everything's
• 1:09:33
  Speaker 6: becoming sequel, sequel, going on VHS and this new little
• 1:09:36
  Speaker 6: era that kind of opened up.
• 1:09:37
  Speaker 5: There were a ton of sequels.
• 1:09:39
  Speaker 6: Did Dan want nothing to do with the story after
• 1:09:42
  Speaker 6: it kind of spiraled off from his first one?
• 1:09:44
  Speaker 1: Well, yeah, Dan didn't want anything to do with sequels.
• 1:09:48
  Speaker 1: You know, he successfully done what he wanted to do
• 1:09:51
  Speaker 1: with the first film and wanted to do a variety
• 1:09:53
  Speaker 1: of things. He wrote Alien, wrote Blue Thunder. He was
• 1:09:58
  Speaker 1: a very creative guy. Tom Fox, a producer on Return
• 1:10:02
  Speaker 1: of the Living Dead, came to me and he wanted
• 1:10:07
  Speaker 1: me to be the production designer for the sequel and
• 1:10:09
  Speaker 1: I read the script and I was so deeply offended
• 1:10:11
  Speaker 1: that it was basically a plagiarism of the first film.
• 1:10:15
  Speaker 1: And I said, you don't even understand why our movie's popular.
• 1:10:19
  Speaker 1: It's not because, Tom thought it was because of the title.
• 1:10:23
  Speaker 1: They had Living Dead in the title, so that's why
• 1:10:24
  Speaker 1: people wanted to see the movie. I said, it's not that.
• 1:10:26
  Speaker 5: It's a good title, but that's not what makes it
• 1:10:28
  Speaker 5: a movie.
• 1:10:28
  Speaker 1: The reason people responded to this movie and it resonates
• 1:10:32
  Speaker 1: with them is because it's so original.
• 1:10:33
  Speaker 9: Yeah.
• 1:10:34
  Speaker 1: And now you want to make a sequel where nothing
• 1:10:36
  Speaker 1: is original? Including the cast? I said, not only will
• 1:10:39
  Speaker 1: I not work on this film. I will forbid you
• 1:10:42
  Speaker 1: to use any of my designs in the sequel. You
• 1:10:45
  Speaker 1: cannot have the tar man in the film. You cannot
• 1:10:47
  Speaker 1: have the half corpse. I'm sorry.
• 1:10:50
  Speaker 6: And I was successful in keeping that out of the sequel.
• 1:10:54
  Speaker 6: They're not, they're not quite the same. And they, and
• 1:10:56
  Speaker 6: they take a lot of weird turns as you watch
• 1:10:58
  Speaker 6: that series.
• 1:10:59
  Speaker 1: Yeah. I said, you know, it shows total disrespect to
• 1:11:01
  Speaker 1: Dan and his vision to do a sequel. That's not original.
• 1:11:06
  Speaker 6: Well, and then you, you mentioned again, jump around a little,
• 1:11:09
  Speaker 6: you mentioned working on predator earlier. I didn't want to know,
• 1:11:12
  Speaker 6: How set was the basic design for the creature that
• 1:11:15
  Speaker 6: early on?
• 1:11:16
  Speaker 5: Or was there not really anything?
• 1:11:17
  Speaker 1: When they brought me in, there was no... Nothing? Nothing. Zero.
• 1:11:22
  Speaker 1: It was Rick Baker who brought me in. I got
• 1:11:25
  Speaker 1: in the film business around the same time as Rick.
• 1:11:29
  Speaker 1: We were really close. I had a real affinity for
• 1:11:32
  Speaker 1: special effects guys, especially stop-motion animation guys, and special effects
• 1:11:37
  Speaker 1: makeup people. There was a time where I knew every
• 1:11:40
  Speaker 1: single one of those practitioners in the entire business. Yeah,
• 1:11:44
  Speaker 1: there weren't that many in the early days. No, there weren't.
• 1:11:46
  Speaker 1: I mean, at that time, the two guys who had
• 1:11:49
  Speaker 1: the greatest knowledge of special effects in the world were
• 1:11:52
  Speaker 1: Ray Harryhausen and Jim Danforth. I was good friends with both.
• 1:11:56
  Speaker 5: That was just for practical reasons.
• 1:11:58
  Speaker 1: So Rick brought me into Predator, and I was really
• 1:12:00
  Speaker 1: pleased because this was my first big studio film. So
• 1:12:03
  Speaker 1: it was a nice step up for me. And I
• 1:12:06
  Speaker 1: was introduced to the director, John McTiernan, and to the
• 1:12:09
  Speaker 1: production designer, John Vallone. And they gave me the script,
• 1:12:13
  Speaker 1: and I read the script and went to the first
• 1:12:15
  Speaker 1: meeting with these guys. And we were talking, and I
• 1:12:20
  Speaker 1: had already done some initial designs to kind of get
• 1:12:24
  Speaker 1: a feel for the direction of where they wanted it
• 1:12:25
  Speaker 1: to go. And I mentioned to the director, I said,
• 1:12:29
  Speaker 1: you know, one of the great things about this screenplay
• 1:12:32
  Speaker 1: is you're going to hit two different audiences. He goes,
• 1:12:35
  Speaker 1: what are you talking about? I said, well, you're going
• 1:12:37
  Speaker 1: to get the action-adventure crowd, you know.
• 1:12:39
  Speaker 6: I mean, it almost entirely changes midway to the movie.
• 1:12:43
  Speaker 6: It becomes a different movie like a half hour, 45
• 1:12:45
  Speaker 6: minutes in.
• 1:12:47
  Speaker 1: And then I said, but with that great ending, you're
• 1:12:50
  Speaker 1: going to get a whole other audience. He says, what
• 1:12:52
  Speaker 1: are you talking about? I said, well, the end, you know,
• 1:12:56
  Speaker 1: Arnold kills the Predator and he's looking at the carcass
• 1:13:00
  Speaker 1: and he's looking at it and he gets closer and
• 1:13:03
  Speaker 1: closer and he reaches down and he opens it up
• 1:13:06
  Speaker 1: and inside is this tiny, frail little alien. And I said,
• 1:13:10
  Speaker 1: that's such a brilliant metaphor for man as hunter who
• 1:13:14
  Speaker 1: has to load himself up with all this technology in
• 1:13:17
  Speaker 1: order to kill creatures and stuff. And McTiernan thought about
• 1:13:22
  Speaker 1: it and thought about it. And he opened his own
• 1:13:24
  Speaker 1: script up and looked at it, reread it, and then
• 1:13:26
  Speaker 1: tore those pages right out of the script. I said, John,
• 1:13:30
  Speaker 1: what are you doing? He said, well, I can't have that.
• 1:13:33
  Speaker 1: That would mean that Arnold beat up a wimp.
• 1:13:37
  Speaker 5: I mean, I guess it makes him less heroic.
• 1:13:40
  Speaker 1: So that's how I screwed up the ending of Predator.
• 1:13:43
  Speaker 5: You messed up the ending.
• 1:13:44
  Speaker 1: But then Rick Baker took that idea and used it
• 1:13:47
  Speaker 1: in Men in Black.
• 1:13:47
  Speaker 5: That's what I was going to say. That's kind of
• 1:13:48
  Speaker 5: exactly the scenario in Men in Black.
• 1:13:50
  Speaker 1: No good idea goes to waste.
• 1:13:52
  Speaker 5: And Independence Day, kind of.
• 1:13:55
  Speaker 1: I took one of Rick's best ideas and made that
• 1:13:58
  Speaker 1: a reality. We were talking about this, and he said,
• 1:14:00
  Speaker 1: you know, the problem with men in suit monsters is
• 1:14:03
  Speaker 1: you can always tell it's a guy in a suit. Yeah.
• 1:14:05
  Speaker 1: configuration of the human body. He said, what if you
• 1:14:09
  Speaker 1: built a backwards suit so that the legs bent the
• 1:14:13
  Speaker 1: wrong way when you're looking at this creature? You'd go, well,
• 1:14:15
  Speaker 1: it couldn't be a human inside there because no human
• 1:14:17
  Speaker 1: could get in there. So I used that idea for
• 1:14:19
  Speaker 1: the drones in Invaders from Mars.
• 1:14:21
  Speaker 5: Yeah, that's awesome. But then the, I mean, on Predator design,
• 1:14:27
  Speaker 5: where did the face come from? Because that was such
• 1:14:29
  Speaker 5: an original concept.
• 1:14:31
  Speaker 1: Yeah, my early designs for Predator back then was called Hunters.
• 1:14:35
  Speaker 1: looked nothing like the way The Predator turned out to look.
• 1:14:39
  Speaker 1: So it was a process of I'd get closer with
• 1:14:41
  Speaker 1: each set of drawings that I would present to the
• 1:14:43
  Speaker 1: director and production designer until finally the final set of
• 1:14:48
  Speaker 1: drawings was pretty close to what eventually got made. Stan
• 1:14:54
  Speaker 1: Winston's people and Bob Short, they came up with additions.
• 1:14:58
  Speaker 1: I think it was Bob's people, Bob or his people
• 1:15:01
  Speaker 1: who came up with the dreadlocks. Yeah. I thought that
• 1:15:04
  Speaker 1: was a great idea, sort of high-tech dreadlocks. And then
• 1:15:08
  Speaker 1: I had done a design where the Predator had a
• 1:15:14
  Speaker 1: couple of little sharp, like, tusks or fangs sprouting out
• 1:15:17
  Speaker 1: from the top and also from the bottom. And then
• 1:15:20
  Speaker 1: Stan Winston's people turned that into that great four-pronged mouth
• 1:15:23
  Speaker 1: that opens up.
• 1:15:24
  Speaker 5: The moving version of it is.
• 1:15:25
  Speaker 1: So, yeah, you know, I think... all three entities should
• 1:15:29
  Speaker 1: get credit for the design of the creature. It's just
• 1:15:31
  Speaker 1: everybody added to it. And I didn't know that at
• 1:15:34
  Speaker 1: the time I was designing it that McTiernan was also
• 1:15:37
  Speaker 1: having Bob Short in Stan Winston work on designs for
• 1:15:40
  Speaker 1: it too.
• 1:15:41
  Speaker 5: And did you see any of it hands-on when they
• 1:15:43
  Speaker 5: were shooting any of that?
• 1:15:44
  Speaker 1: No, that was all shot down in, I think, down
• 1:15:47
  Speaker 1: in Guatemala or Mexico or.
• 1:15:49
  Speaker 5: I know they had the weird Jean-Claude Van Damme version
• 1:15:52
  Speaker 5: of it, too, for a while. It got scrapped.
• 1:15:54
  Speaker 1: Yeah, that got scrapped. The heat and the humidity of
• 1:15:58
  Speaker 1: shooting down there did a lot of damage to that suit,
• 1:16:00
  Speaker 1: so they had to completely rebuild it.
• 1:16:03
  Speaker 5: Well, then, again, I've thrown out a lot of different titles.
• 1:16:05
  Speaker 6: I was going to let you pick a few that
• 1:16:07
  Speaker 6: were maybe like the lesser-known ones or just ones that
• 1:16:09
  Speaker 6: you don't get a chance to talk about much that
• 1:16:11
  Speaker 6: were just interesting film projects that you'd worked.
• 1:16:14
  Speaker 1: On in the past. Well, there was a super low-budget
• 1:16:16
  Speaker 1: film I worked on called Monster in the Closet.
• 1:16:18
  Speaker 5: Yeah.
• 1:16:19
  Speaker 1: And that creature, they wanted me to design the monster
• 1:16:23
  Speaker 1: that's in the closet. And so I did, but I
• 1:16:26
  Speaker 1: came up with this other thing. I said, okay, so
• 1:16:29
  Speaker 1: here's what I think the monster should look like. And
• 1:16:31
  Speaker 1: they built it to look exactly like that. But I said,
• 1:16:34
  Speaker 1: but that's not the monster. The monster, the real monster,
• 1:16:37
  Speaker 1: is inside that monster, and it comes out of his
• 1:16:40
  Speaker 1: mouth and bites you and then goes back inside. So
• 1:16:44
  Speaker 1: I like surprising audiences.
• 1:16:46
  Speaker 3: Yeah.
• 1:16:47
  Speaker 6: Do you, again, as you get into all these things,
• 1:16:50
  Speaker 6: because you're also so prolific as far as artwork, is
• 1:16:54
  Speaker 6: it something you don't want to undertake as many film
• 1:16:58
  Speaker 6: projects now because it's just so time-consuming? It seems like
• 1:17:02
  Speaker 6: it's not quite as much now, and I was like,
• 1:17:03
  Speaker 6: do you still want to do huge film projects?
• 1:17:07
  Speaker 1: Well, what happened was after I'd been production designer on
• 1:17:10
  Speaker 1: several films, and my kids were born, they're grown up,
• 1:17:14
  Speaker 1: and I would realize that each January... If I agree
• 1:17:18
  Speaker 1: to production design this film, the deal is I won't
• 1:17:22
  Speaker 1: see my kids for two years. Yeah. That's the deal.
• 1:17:25
  Speaker 1: The only time I'd see them is when they're sleeping
• 1:17:28
  Speaker 1: because I'm working 18-hour days. So they wouldn't see me
• 1:17:31
  Speaker 1: in the morning because I'd already be on set. And
• 1:17:33
  Speaker 1: they wouldn't see me in the evening because they'd already
• 1:17:34
  Speaker 1: be in bed. And the big question is, is it
• 1:17:38
  Speaker 1: worth it? It's hard. To miss out on your kids
• 1:17:41
  Speaker 1: growing up.
• 1:17:41
  Speaker 5: Having a family and trying to work in the entertainment industry.
• 1:17:44
  Speaker 1: So the other thing. issue is that film is the
• 1:17:47
  Speaker 1: currency of fame in our time uh that is how
• 1:17:52
  Speaker 1: our the public validates people and uh i've been to
• 1:17:58
  Speaker 1: every single comic-con in san diego since the very first
• 1:18:01
  Speaker 1: one and it's a place where i sell a lot
• 1:18:04
  Speaker 1: of stuff i generate about a fifth of my annual
• 1:18:06
  Speaker 1: income at each comic-con And I noticed that when people
• 1:18:11
  Speaker 1: come up to my table, almost every single person, the
• 1:18:14
  Speaker 1: first thing they ask is, are you working on any films?
• 1:18:17
  Speaker 1: And if I say no, they turn around and walk away.
• 1:18:21
  Speaker 1: It's as if I don't exist. It doesn't matter if
• 1:18:23
  Speaker 1: I've just painted murals for their museum or if I
• 1:18:26
  Speaker 1: just designed a nightclub or something, designed stuff for Disney.
• 1:18:31
  Speaker 1: It doesn't matter.
• 1:18:31
  Speaker 5: That's crazy.
• 1:18:32
  Speaker 1: If I say yes, I just did this, they stay
• 1:18:35
  Speaker 1: at the table, they buy stuff.
• 1:18:38
  Speaker 5: That's so weird. The artwork is still the same artwork.
• 1:18:41
  Speaker 1: Yeah, and I'm still the same guy regardless of whether
• 1:18:44
  Speaker 1: I'm doing film or not. And so you know i
• 1:18:49
  Speaker 1: came to a very realistic realization that i better have
• 1:18:53
  Speaker 1: a yes answer for that and how can i do
• 1:18:55
  Speaker 1: that without actually being bogged down by being a production
• 1:18:58
  Speaker 1: designer for two years yeah and so that's when i
• 1:19:01
  Speaker 1: started doing lots of creature design because that's usually really
• 1:19:03
  Speaker 1: quick in quick out and usually not more than not
• 1:19:07
  Speaker 1: more than a couple weeks yeah And then I have
• 1:19:09
  Speaker 1: that answer to that question. Yes, yeah, I just worked
• 1:19:12
  Speaker 1: on Predator, a movie called Predator. I just did, you know,
• 1:19:17
  Speaker 1: Pan's Labyrinth.
• 1:19:17
  Speaker 5: Yeah, I mean, those are amazing designs and, yeah, still
• 1:19:22
  Speaker 5: kind of keeps you in the machine more or less.
• 1:19:25
  Speaker 1: Yeah.
• 1:19:26
  Speaker 6: So do you have other specific, are there still like
• 1:19:30
  Speaker 6: big projects that you want to work on that's different
• 1:19:32
  Speaker 6: than stuff that you have?
• 1:19:34
  Speaker 1: Well, the one film I would love to make that
• 1:19:36
  Speaker 1: actually I worked on for two years and we never
• 1:19:38
  Speaker 1: got the financing for it, sadly enough, was An American Godzilla.
• 1:19:42
  Speaker 1: That was with Steve Miner working from a Fred Decker script.
• 1:19:47
  Speaker 1: And I had assembled a dream art department. I started out,
• 1:19:52
  Speaker 1: Steve Miner hired me originally to do the presentation art
• 1:19:55
  Speaker 1: to get the financing for the film. That was something
• 1:19:58
  Speaker 1: I was doing alongside of movie posters. Basically, presentation art
• 1:20:01
  Speaker 1: is sort of like a fake movie poster. But it's
• 1:20:04
  Speaker 1: a visual way to show investors, this is the kind
• 1:20:06
  Speaker 1: of movie we want to make. And so I'd done
• 1:20:10
  Speaker 1: a big painting of Godzilla attacking San Francisco on the
• 1:20:13
  Speaker 1: Golden Gate Bridge and all these helicopters flying around and
• 1:20:16
  Speaker 1: stuff like that. It's like the old Roger way to
• 1:20:18
  Speaker 1: make a movie. Yep.
• 1:20:19
  Speaker 5: Here's the poster. Go shoot that movie.
• 1:20:21
  Speaker 1: Well, there was another producer, Sandy Howard, who was a
• 1:20:23
  Speaker 1: low-budget filmmaker, and he'd come to me every January and say, okay,
• 1:20:26
  Speaker 1: I've got 12 titles. Terror train. Teenage girls terrorized on
• 1:20:30
  Speaker 1: a train. Boom. And I would do 12 little miniature
• 1:20:35
  Speaker 1: one sheets for each title. Now, he wouldn't have a script.
• 1:20:40
  Speaker 1: But on the basis of the title, in my art,
• 1:20:42
  Speaker 1: he'd go to the Cannes Film Festival or to MIFED
• 1:20:44
  Speaker 1: in Italy, and he'd get financing for all 12 films.
• 1:20:47
  Speaker 1: Come back and make them.
• 1:20:49
  Speaker 5: The amazing part of the business, the spin.
• 1:20:53
  Speaker 1: Yeah, just unbelievable. So Steve loved what the presentation art
• 1:21:00
  Speaker 1: I'd done for Godzilla was. And he found out I
• 1:21:03
  Speaker 1: did storyboards, so I started storyboarding the film because there
• 1:21:05
  Speaker 1: was special effects on almost every shot, so the whole
• 1:21:08
  Speaker 1: film needed to be boarded. Which era was this? This
• 1:21:13
  Speaker 1: was 1982.
• 1:21:13
  Speaker 5: Okay, so well before the American remake. The first of
• 1:21:16
  Speaker 5: the American remakes that happened.
• 1:21:18
  Speaker 1: Yeah.
• 1:21:19
  Speaker 6: Yeah, well, even before the 85 sort of American version. So, yeah,
• 1:21:24
  Speaker 6: this was well before all these reboots.
• 1:21:27
  Speaker 1: Yeah, so I was doing storyboards. I was doing really
• 1:21:30
  Speaker 1: large storyboards, panels. I've done storyboards for a lot of films,
• 1:21:36
  Speaker 1: and every one's different. Some directors just want thumbnails, some
• 1:21:38
  Speaker 1: want really elaborate things, and everything in between. I was
• 1:21:41
  Speaker 1: doing these big elaborate storyboards, and Mentor Huebner, probably at
• 1:21:45
  Speaker 1: that time one of the two greatest living storyboard artists,
• 1:21:49
  Speaker 1: he was a friend of mine, and he was visiting
• 1:21:50
  Speaker 1: me at my studio. And he looked at the boards
• 1:21:52
  Speaker 1: I was doing for Godzilla. He said, oh, my God,
• 1:21:54
  Speaker 1: the detail on these boards, you're really designing the motion picture.
• 1:21:58
  Speaker 1: You should ask Steve about being the production designer. And
• 1:22:02
  Speaker 1: I hadn't thought about that. Oh, yeah. Hey. So I did.
• 1:22:07
  Speaker 1: I asked Steve. And Steve immediately made calls all around
• 1:22:10
  Speaker 1: town just checking up on me and stuff. And he
• 1:22:12
  Speaker 1: called Ron Cobb. And Ron said, if you give Bill
• 1:22:16
  Speaker 1: a good, strong art director, he'll be a great production designer.
• 1:22:18
  Speaker 3: Yeah.
• 1:22:19
  Speaker 1: And so Steve hired me as the production designer for
• 1:22:21
  Speaker 1: the film. So then I hired Dave Stevens, who was
• 1:22:25
  Speaker 1: working out of my studio already, and Doug Wildey, the
• 1:22:28
  Speaker 1: creator of Johnny Quest, to help out doing boards. And
• 1:22:32
  Speaker 1: then I hired Rick Baker to start building a gigantic
• 1:22:35
  Speaker 1: robotic Godzilla head for me. Steve Chirkus, who was an
• 1:22:38
  Speaker 1: incredible paleo sculptor, he sculpted the stop-motion animation model of
• 1:22:42
  Speaker 1: Godzilla for my designs. And David Allen was going to
• 1:22:45
  Speaker 1: do the stop-motion animation. It was a dream art department.
• 1:22:48
  Speaker 1: Just absolutely incredible. And I think it's Fred Decker's finest script.
• 1:22:52
  Speaker 1: It was an absolutely fantastic story. And I got really
• 1:22:57
  Speaker 1: heavily involved in this film. I was on it for
• 1:22:59
  Speaker 1: two years. And I would do weekly presentations to Steve.
• 1:23:03
  Speaker 1: And I would even put together scratch tracks of music
• 1:23:06
  Speaker 1: to go along with the visuals that I had created.
• 1:23:09
  Speaker 5: Again, so immersed on every level into these projects.
• 1:23:12
  Speaker 1: Yeah. And the plan was that if we made Godzilla,
• 1:23:16
  Speaker 1: then the next film we were going to do was
• 1:23:18
  Speaker 1: going to be Rodan, and I was going to direct.
• 1:23:22
  Speaker 6: Were you really interested? Again, that's such an undertaking. Is
• 1:23:26
  Speaker 6: that something you really wanted to do, was get into directing?
• 1:23:29
  Speaker 1: Yeah, at that time, yes.
• 1:23:31
  Speaker 6: But now it's more trouble than it's worth.
• 1:23:34
  Speaker 1: No, I'm still interested, and I have a film project
• 1:23:40
  Speaker 1: actually generated from some writer-producers here in Louisville, Kentucky that
• 1:23:44
  Speaker 1: they want me to direct. So I'm moving slowly towards it,
• 1:23:46
  Speaker 1: but I'm being very careful.
• 1:23:50
  Speaker 5: It's a whole new hat to put on.
• 1:23:54
  Speaker 6: Well, and then just on the stuff that you've been
• 1:23:57
  Speaker 6: planning on doing here, what art projects, I mean, are
• 1:24:01
  Speaker 6: they constantly just being given to you, or are you
• 1:24:04
  Speaker 6: working on something bigger scale?
• 1:24:06
  Speaker 1: Both. Projects come in all the time, and I said
• 1:24:11
  Speaker 1: whether or not I want to do them, but at
• 1:24:12
  Speaker 1: the same time, maybe I'm between those projects, I'm also
• 1:24:15
  Speaker 1: generating my own projects. Like right now, I'm working on
• 1:24:19
  Speaker 1: a huge book retrospective of my entire career. It'll have
• 1:24:22
  Speaker 1: over 500 images in the book. Got a lot of books.
• 1:24:26
  Speaker 1: I'm also hoping to have, by the end of the summer,
• 1:24:29
  Speaker 1: a book out on my creature design for film for
• 1:24:32
  Speaker 1: 30 movies that I've worked on.
• 1:24:33
  Speaker 6: That's a huge, impressive lineup, so yeah, I'd love to
• 1:24:38
  Speaker 6: see that.
• 1:24:39
  Speaker 1: I've been asked to write my autobiography by a lot
• 1:24:41
  Speaker 1: of people, and That seems a little overwhelming to me
• 1:24:45
  Speaker 1: until I came up with the idea, I know what
• 1:24:47
  Speaker 1: I'll do. I'll do it in chunks. And so the first,
• 1:24:51
  Speaker 1: I'll do a multi-volume autobiography, each volume focusing on a
• 1:24:55
  Speaker 1: different aspect of my career. And in addition to showing
• 1:25:00
  Speaker 1: the art from whatever I was working on, whatever that
• 1:25:03
  Speaker 1: subject matter was, like for instance, the first volume was
• 1:25:05
  Speaker 1: on all my murals that I've done for museums. I
• 1:25:08
  Speaker 1: also talk about in the text what was going on
• 1:25:11
  Speaker 1: in my life at the time.
• 1:25:13
  Speaker 5: That's an interesting way to do it.
• 1:25:14
  Speaker 1: So that makes it much more achievable in my mind,
• 1:25:19
  Speaker 1: much less intimidating to do it in bite-sized chunks. And
• 1:25:22
  Speaker 1: so I've already finished writing the book on all my
• 1:25:26
  Speaker 1: music-related art. Yeah. I'm going to do a book on
• 1:25:29
  Speaker 1: all my designs and production art for motion pictures. There'll
• 1:25:35
  Speaker 1: be another one just on movie posters and entertainment advertising art.
• 1:25:39
  Speaker 1: I worked on the ad campaigns for about 120 films.
• 1:25:41
  Speaker 5: Yeah. It's a staggering amount of work that you've put
• 1:25:45
  Speaker 5: out over the years.
• 1:25:46
  Speaker 1: It's crazy. Fortunately, speed was really important to me. I
• 1:25:50
  Speaker 1: learned how to do stuff fast. And the other thing
• 1:25:53
  Speaker 1: is I don't need much sleep.
• 1:25:55
  Speaker 5: I guess that helps.
• 1:25:56
  Speaker 1: I only need about five hours per night. So I
• 1:25:59
  Speaker 1: use all the rest of the waking time to work.
• 1:26:01
  Speaker 1: That's impressive.
• 1:26:03
  Speaker 6: So I guess with all these things and all these
• 1:26:06
  Speaker 6: books and all the projects you have, what's the best
• 1:26:08
  Speaker 6: way for people to find out more about it or
• 1:26:10
  Speaker 6: to keep up with you and what you've got in
• 1:26:12
  Speaker 6: the works?
• 1:26:13
  Speaker 1: Oh, the best way is go to my website. It's
• 1:26:15
  Speaker 1: real easy to remember. It's www.williamstout.com. And I don't always
• 1:26:23
  Speaker 1: do a lot of postings, but I try to keep
• 1:26:25
  Speaker 1: my fans updated. And of course, on my website, there's
• 1:26:29
  Speaker 1: a section for appearances, so you can see where I'm
• 1:26:31
  Speaker 1: popping up all around the country or around the world.
• 1:26:34
  Speaker 1: And come see me live. I do talks about my career,
• 1:26:38
  Speaker 1: and I do talks about dinosaurs and all kinds of
• 1:26:41
  Speaker 1: different things at museums and universities and colleges and art organizations.
• 1:26:48
  Speaker 6: You yeah you have an amazing amount of art i'm
• 1:26:51
  Speaker 6: sitting in the middle of right now it's like it
• 1:26:53
  Speaker 6: it is terrific to see like in person especially you've
• 1:26:56
  Speaker 6: got the prints and the books so yeah definitely come
• 1:26:59
  Speaker 6: out and check it out and pick up many of
• 1:27:01
  Speaker 6: them all.
• 1:27:02
  Speaker 1: Yeah see me in person buy from me in person
• 1:27:04
  Speaker 1: get it signed and personalized or or pick it up
• 1:27:06
  Speaker 1: on my web through my website i have a website
• 1:27:08
  Speaker 1: shop as well.
• 1:27:09
  Speaker 5: Definitely All right, well, thank you for being on the show.
• 1:27:12
  Speaker 1: Hey, thanks for having me. This was great.
• 1:27:22
  Speaker 5: So once again, a huge thank you to William for
• 1:27:24
  Speaker 5: sitting down with us this week. Again, his website is williamstout.com.
• 1:27:28
  Speaker 5: Go there, check out his artwork, order some of his work,
• 1:27:30
  Speaker 5: check and see where he'll be making an appearance, and
• 1:27:32
  Speaker 5: go say hello and tell him you heard about him
• 1:27:35
  Speaker 5: on Movie Meltdown. All right, we've left Misty unattended during
• 1:27:39
  Speaker 5: this interview, and that can't be good. So let's head
• 1:27:42
  Speaker 5: back and see what she's up to right now.
• 1:27:46
  Speaker 3: I'm going to snatch this shit up and take it
• 1:27:47
  Speaker 3: off out the door. I could have taken that guard.
• 1:27:49
  Speaker 3: I don't even care.
• 1:27:50
  Speaker 5: You really could have. And then he wandered off.
• 1:27:52
  Speaker 3: I know.
• 1:27:52
  Speaker 6: Like when we got closer to it and started messing
• 1:27:54
  Speaker 6: with taking pictures.
• 1:27:55
  Speaker 3: He was luring me into a false sense of security.
• 1:27:57
  Speaker 3: I know as soon as I grabbed my table off there,
• 1:27:58
  Speaker 3: he'd have tasered my ass, and I'd be down and
• 1:28:00
  Speaker 3: all twitchy and shit, and that's just not attractive.
• 1:28:04
  Speaker 5: But in addition to all that.
• 1:28:07
  Speaker 1: That.
• 1:28:07
  Speaker 6: About does it for this week's episode. Once again, a
• 1:28:10
  Speaker 6: big thank you to Wonderfest for letting us come here
• 1:28:12
  Speaker 6: and be part.
• 1:28:14
  Speaker 5: Of the show.
• 1:28:15
  Speaker 3: Yeah.
• 1:28:16
  Speaker 5: It's been awesome.
• 1:28:17
  Speaker 6: Go to wonderfest.com to figure out what the plan is
• 1:28:21
  Speaker 6: for next year.
• 1:28:22
  Speaker 5: You could be here in the middle of all of
• 1:28:24
  Speaker 5: this and experience cool stuff like we do.
• 1:28:28
  Speaker 3: Hells yeah, we do.
• 1:28:29
  Speaker 6: Otherwise, that about does it.
• 1:28:31
  Speaker 5: We will return next time, same geek feed. Thanks for listening.
• 1:28:34
  Speaker 3: Bye. Bye.
• 1:28:35
  Speaker 8: Bye. And all I want to do is rest my
• 1:28:54
  Speaker 8: weary head.
• 1:28:56
  Speaker 2: I see things at the window.
• 1:28:59
  Speaker 5: I hear things at the door. I pull up the
• 1:29:03
  Speaker 5: sheets and I close my eyes.
• 1:29:04
  Speaker 1: I don't want to see.
• 1:29:18
  Speaker 4: Now my doctor will tell you that I've got a
• 1:29:20
  Speaker 4: little history.
• 1:29:23
  Speaker 1: But there's been monsters in my closet ever since I
• 1:29:26
  Speaker 1: was three.
• 1:29:29
  Speaker 5: They say I'm crazy, say I'm.
• 1:29:31
  Speaker 3: Certified, but we'll see who is laughing when.
• 1:29:39
  Speaker 8: Monsters in the closet, they come out late at night.
• 1:29:44
  Speaker 8: I know that you can't see them, but I've got
• 1:29:48
  Speaker 8: the second sight.
• 1:29:50
  Speaker 5: Monsters in the closet, they're after you and me.
• 1:30:11
  Speaker 2: Now my nanny says it's time to take my little
• 1:30:14
  Speaker 2: yellow pill.
• 1:30:16
  Speaker 3: But I put it up underneath my tongue.
• 1:30:18
  Speaker 5: I don't feel the least bit ill.
• 1:30:21
  Speaker 8: They say it keeps me from acting out against my will.
• 1:30:27
  Speaker 4: Yeah, but tell me if I don't do it.
• 1:30:29
  Speaker 3: Then who else will?
• 1:30:31
  Speaker 2: Because there's monsters in the closet.
• 1:30:34
  Speaker 5: They're after you and me.
• 1:30:42
  Speaker 6: Monsters in the closet, they come out late at night.
• 1:30:48
  Speaker 1: Monsters in the closet, they just want. We're going to
• 1:31:29
  Speaker 1: sound like we're under attack.
• 1:31:32
  Speaker 9: This episode is a production of Movie Meltdown, produced and
• 1:31:35
  Speaker 9: edited by The Oddity Studios, with opening music performed by
• 1:31:38
  Speaker 9: The Empires. For more on how to sponsor or support
• 1:31:41
  Speaker 9: the show, email producer at moviemeltdown.com.
• 1:31:44
  Speaker 4: Talk hard!
• 1:31:51
  Speaker 5: This program is a proud member of the Battleship Pretension Fleet.