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Who's got the props? Ken Palkow · Movie Meltdown

• 0:05
  Speaker 1: Hi, this is John Wesley Shipp, and you're listening to
• 0:08
  Speaker 1: Movie Meltdown.
• 0:24
  Speaker 2: The following feature has been rated R by the Motion
• 0:26
  Speaker 2: Picture Association of America. It is intended for mature audiences
• 0:30
  Speaker 2: and parental discretion is advised.
• 0:42
  Speaker 3: It's showtime, folks.
• 0:45
  Speaker 2: Enjoy the show.
• 0:48
  Speaker 4: Our nuclear reactor, pumping.
• 0:50
  Speaker 2: Out one million kilowatts of power.
• 1:18
  Speaker 5: I need guns. Okay, which ones?
• 1:25
  Speaker 3: I need all the guns!
• 1:35
  Speaker 5: What's up and welcome to Movie Meltdown.
• 1:37
  Speaker 6: I'm Brian and this week we continue our coverage from Wonderfest.
• 1:41
  Speaker 6: And better yet, this week we are joined by our
• 1:43
  Speaker 6: special guest, prop maker Ken Pauko. Now, Ken has worked
• 1:47
  Speaker 6: on an amazing list of projects over the years. Just
• 1:50
  Speaker 6: to name a few, some of his more recent endeavors
• 1:52
  Speaker 6: include building weapons and gadgets for the last three X-Men films,
• 1:57
  Speaker 6: as well as this most recent final chapter, Dark Phoenix.
• 2:00
  Speaker 6: He also makes weapons, gadgets, and props for TV shows
• 2:03
  Speaker 6: like Altered Carbon and The.
• 2:05
  Speaker 5: Flash and Arrow. Again, just to name a few.
• 2:08
  Speaker 6: He has also fabricated props for the continually delayed, but
• 2:11
  Speaker 6: not Ken's fault, Sonic the Hedgehog movie. as well as
• 2:14
  Speaker 6: props for Dwayne Johnson's skyscraper, and not only did he
• 2:17
  Speaker 6: work on the first Deadpool movie, but Ken created guns, swords,
• 2:21
  Speaker 6: and most impressively, Cable's rifle for Deadpool 2. Continuing the rundown,
• 2:26
  Speaker 6: Ken has made the gold tablets for Night at the Museum,
• 2:29
  Speaker 6: the serum gas canisters for Rise of the Planet of
• 2:31
  Speaker 6: the Apes, but Ken is relatively well known for his weaponry,
• 2:35
  Speaker 6: and if you made your way to his table this year,
• 2:37
  Speaker 6: and pretty much every year since I've seen him at Wonderfest,
• 2:40
  Speaker 6: you'll see a multitude of weapons. And specifically, he's made
• 2:43
  Speaker 6: Kate Beckinsale's weapons in Underworld Awakening, the Colonial Sidearms in
• 2:47
  Speaker 6: Battlestar Galactica Blood and Chrome, and even the Federation Phasers,
• 2:51
  Speaker 6: alien weapons, and medical gadgets for Star Trek Into Darkness
• 2:54
  Speaker 6: and Star Trek Beyond. And yes, by Federation Phasers, you
• 2:58
  Speaker 6: know I mean that awesome spinning phaser that switches from
• 3:02
  Speaker 6: stun to kill.
• 3:03
  Speaker 5: Come on, you're geeks. You know the phaser I'm talking about.
• 3:06
  Speaker 5: It's amazing. And that was made by Kent. And while
• 3:09
  Speaker 5: there are so many different jobs involved in every movie,
• 3:12
  Speaker 5: creating props always seems so specific that I always.
• 3:15
  Speaker 6: Kind of wondered just how someone would end up in
• 3:17
  Speaker 6: that field. So now we're going to get a chance
• 3:19
  Speaker 6: to find out just that as we talk to Ken.
• 3:22
  Speaker 5: And if that weren't enough for this episode, we take
• 3:24
  Speaker 5: it up one more notch by continuing what has become
• 3:27
  Speaker 5: kind of a tradition on this show. It's working in
• 3:30
  Speaker 5: the man I now semi-annually refer to as my reluctant co-host,
• 3:35
  Speaker 5: Eric Chu.
• 3:36
  Speaker 6: Now, if you've been listening to the show over the years,
• 3:38
  Speaker 6: you know many, many years ago now, we first sat
• 3:42
  Speaker 6: down with Eric and we talked about art and then
• 3:44
  Speaker 6: cartoons and then designing spaceships and eventually lots and lots
• 3:49
  Speaker 6: of discussions about puppets. But in recent years, I'll be
• 3:52
  Speaker 6: talking with Eric beforehand and I'm like, man, we can't
• 3:55
  Speaker 6: talk about puppets anymore. No more stop motion. No more
• 3:58
  Speaker 6: inspiring messages on how to become an artist. We've covered
• 4:01
  Speaker 6: all our things. Neither of us have anything else going on.
• 4:04
  Speaker 6: We just can't sit down and talk together anymore.
• 4:07
  Speaker 5: But it's still kind of fun to force him into
• 4:09
  Speaker 5: the show every time he's here. So the last couple
• 4:12
  Speaker 5: of years.
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  Speaker 6: I just kind of invite him to Ed McMahon it
• 4:15
  Speaker 6: and just sort of hang out with us while we
• 4:17
  Speaker 6: talk to another guest at the show.
• 4:19
  Speaker 5: And what's funny is.
• 4:20
  Speaker 6: He still fights it. This year in particular, Ken had
• 4:23
  Speaker 6: to call him and yell at him to get it
• 4:25
  Speaker 6: together and get on this episode.
• 4:27
  Speaker 5: No joke. Listen.
• 4:30
  Speaker 1: Dude, how long does it take you to fucking walk here? No,
• 4:36
  Speaker 1: I'm waiting for you. Get your ass over here now.
• 4:40
  Speaker 7: Bye.
• 4:44
  Speaker 6: But I'm glad Eric does join us because Eric's always fun.
• 4:47
  Speaker 6: But in particular this year, it's such a fun dynamic
• 4:50
  Speaker 6: because Ken and Eric have developed such an interesting relationship
• 4:54
  Speaker 6: over the years that and it's all grown specifically at
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  Speaker 6: Wonderfest year after year. I always say that Wonderfest has
• 5:01
  Speaker 6: more of a family vibe than most other conventions, and
• 5:04
  Speaker 6: by that I mean, like, a dysfunctional family reunion that
• 5:07
  Speaker 6: happens every year. And I mean that in the best
• 5:09
  Speaker 6: possible way I know I'm the weird cousin that shows
• 5:12
  Speaker 6: up every year. But this year you'll hear evidence of
• 5:14
  Speaker 6: just that as you hear these two sit down and talk.
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  Speaker 6: They have developed this almost brother-like camaraderie over the years,
• 5:21
  Speaker 6: where they're just as likely to give each other hell
• 5:23
  Speaker 6: for no good reason... as they are to turn around.
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  Speaker 5: And talk up what a terrific artist and craftsman the
• 5:29
  Speaker 5: other one is.
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  Speaker 6: But you'll hear that for yourself right now as we
• 5:32
  Speaker 6: sit down with Ken and Eric at Wonderfest, the conventions
• 5:35
  Speaker 6: winding down, and eventually so are they, but not before
• 5:38
  Speaker 6: we hear some terrific stories.
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  Speaker 5: So, let's go there now.
• 5:47
  Speaker 1: Thank you!
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  Speaker 7: Finally!
• 5:49
  Speaker 1: Don't give me that face!
• 5:51
  Speaker 7: Jesus!
• 5:55
  Speaker 1: My time to shine. Yeah, whatever.
• 5:58
  Speaker 7: Let's go.
• 6:01
  Speaker 1: Get a fucking seat.
• 6:04
  Speaker 5: All right. Where would we like to begin? Usually, I
• 6:08
  Speaker 5: don't know. Are you okay with going really early with
• 6:12
  Speaker 5: what you got into when you were younger?
• 6:14
  Speaker 1: We could talk about what led me. to Hollywood yeah.
• 6:22
  Speaker 5: That's usually where I start with everybody is just kind
• 6:24
  Speaker 5: of what they were into as kids and you know
• 6:27
  Speaker 5: what kind of led them what their likes were then
• 6:29
  Speaker 5: and how it kind of led to where they ended
• 6:30
  Speaker 5: up working so yeah I guess yeah where did you
• 6:34
  Speaker 5: start from where were you born you.
• 6:37
  Speaker 8: Want to go first no no he's already interviewed me
• 6:40
  Speaker 8: okay all.
• 6:41
  Speaker 5: Right Eric is just here to come up with emotional
• 6:44
  Speaker 5: support see.
• 6:45
  Speaker 1: If I didn't know you were already interviewed I wouldn't
• 6:47
  Speaker 1: have called you I would have just said don't bother.
• 6:50
  Speaker 7: I've already done this, like, what, three or four or
• 6:53
  Speaker 7: five times?
• 6:53
  Speaker 5: Many, many. I've lost count.
• 6:55
  Speaker 1: And you still have not admitted if you're part of
• 6:57
  Speaker 1: the triads or not.
• 7:00
  Speaker 2: Well.
• 7:02
  Speaker 1: Yeah, exactly.
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  Speaker 7: That seems like a mission.
• 7:06
  Speaker 1: Come on.
• 7:07
  Speaker 7: I'm not denying. I'm not confirming.
• 7:11
  Speaker 1: Okay. We need to talk about some of that money.
• 7:19
  Speaker 1: I come from a poor family, pretty poor. Seven of us,
• 7:23
  Speaker 1: four brothers, three sisters, and two-bedroom apartment, boys and my
• 7:30
  Speaker 1: dad in one bedroom, the girls and my mom in
• 7:32
  Speaker 1: another bedroom.
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  Speaker 5: That's a lot of people.
• 7:35
  Speaker 4: Yeah.
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  Speaker 1: And Christmases and birthdays consisted primarily of construction paper, plastic scissors,
• 7:43
  Speaker 1: edible grass, glue paste glue if.
• 7:46
  Speaker 5: It's supposed to be edible but most kids find a reason.
• 7:49
  Speaker 1: Um but you know what crayons and markers and everything
• 7:53
  Speaker 1: and legos and that's i think i have to thank
• 7:56
  Speaker 1: my mom because uh you know she kind of probably
• 8:01
  Speaker 1: unknowingly was kind of forming the foundation of the creativity
• 8:05
  Speaker 1: side yeah um making my toys i mean we had
• 8:10
  Speaker 1: toys and stuff i don't want to make it you
• 8:11
  Speaker 1: know sound like eric's over here doing the violin thing
• 8:14
  Speaker 1: He was, by the way. I was a stick.
• 8:17
  Speaker 5: And I poked my sister every day.
• 8:23
  Speaker 7: No, but I understand what you're saying.
• 8:25
  Speaker 8: I mean, my mom, basically during my childhood, just gave
• 8:28
  Speaker 8: me a stack of paper and just said, go do it.
• 8:31
  Speaker 7: Yeah.
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  Speaker 8: And that's, to her credit, she didn't try to force
• 8:36
  Speaker 8: me into any one particular profession.
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  Speaker 7: As many parents tend to do.
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  Speaker 8: You know, so, so, you know, I, I thank her
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  Speaker 8: for that because it's, uh, without that kind of support, uh,
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  Speaker 8: I think I would have found it very, very difficult to, um, to,
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  Speaker 8: to find myself in the, in the profession that I'm
• 9:00
  Speaker 8: in right now.
• 9:02
  Speaker 2: Yeah.
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  Speaker 5: Yeah.
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  Speaker 1: And, um, I'm sure you, you have a similar story
• 9:07
  Speaker 1: when it comes to like, when you had that, I
• 9:10
  Speaker 1: guess for me, like, I was that kid, like I
• 9:12
  Speaker 1: tell this story all the time because it's true. It's
• 9:14
  Speaker 1: the only thing I could think of when they say, well,
• 9:16
  Speaker 1: how did you get started? And I think, you know,
• 9:18
  Speaker 1: I was like that young kid, single digits, I think,
• 9:21
  Speaker 1: maybe as old as 12, maybe.
• 9:22
  Speaker 7: You know. By digits, you're talking about years, not appendages.
• 9:28
  Speaker 1: Yeah.
• 9:29
  Speaker 5: 12, maybe.
• 9:32
  Speaker 1: You know, prop my head, you know, on the floor watching,
• 9:37
  Speaker 1: you know, Battlestar Galactica, Buck Rogers, Space 1999, Lost in Space.
• 9:42
  Speaker 1: And I think that is what ultimately led me to Hollywood.
• 9:48
  Speaker 1: You know, I got hooked on science fiction at an
• 9:51
  Speaker 1: early age and– And then it followed me throughout the years,
• 9:56
  Speaker 1: you know.
• 9:56
  Speaker 7: Now, were you living in an area where you had
• 9:59
  Speaker 7: neighbors and friends?
• 10:01
  Speaker 1: No, we lived in, uh, I was born in Newark,
• 10:04
  Speaker 1: New Jersey and, and we lived not far from, uh,
• 10:08
  Speaker 1: the outskirts of that in, uh, a town called Kearney. And, um, uh,
• 10:14
  Speaker 1: you know, really.
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  Speaker 7: How, how far were your closest friends?
• 10:19
  Speaker 1: Uh, I'm going to say they weren't extremely far, but
• 10:23
  Speaker 1: for me, they were still within bike riding distance, maybe
• 10:27
  Speaker 1: a mile or two. Okay. Because they were on the
• 10:29
  Speaker 1: further side of Kearney, and I was on one side
• 10:31
  Speaker 1: of Kearney. I didn't have too many friends because most
• 10:35
  Speaker 1: of the kids weren't really into what I was into,
• 10:40
  Speaker 1: science fiction and stuff.
• 10:42
  Speaker 7: Well, yeah, at that time, comic books was not a
• 10:44
  Speaker 7: big thing.
• 10:44
  Speaker 1: A lot of kids were into– most of my friends
• 10:48
  Speaker 1: were into– music you know and i was too i
• 10:52
  Speaker 1: mean i listened to led zeppelin the who those are
• 10:56
  Speaker 1: my favorites pete townsend yeah.
• 10:59
  Speaker 8: I grew up in a very rural area so uh
• 11:02
  Speaker 8: there were just like days where you know there's nothing
• 11:05
  Speaker 8: to do and you kind of retreated and and became
• 11:09
  Speaker 8: you developed your imagination i guess yeah yeah yeah it's
• 11:12
  Speaker 8: exactly without all this you know other uh stimulation that
• 11:16
  Speaker 8: we we get on you know These days, I mean,
• 11:19
  Speaker 8: I have a five-year-old kid, and he's constantly watching TV
• 11:23
  Speaker 8: or YouTube, Netflix, whatever. And there's always something for him
• 11:30
  Speaker 8: to watch. But when we were growing up, there was
• 11:34
  Speaker 8: no streaming. Whatever was on TV was on TV. And
• 11:38
  Speaker 8: there wasn't a whole lot of science fiction. There was some,
• 11:42
  Speaker 8: but not a whole lot. And I had a father
• 11:44
  Speaker 8: who really looked down on watching TV. So, you know,
• 11:50
  Speaker 8: in one day, he might let us watch maybe half
• 11:53
  Speaker 8: an hour.
• 11:54
  Speaker 7: And that was it. That's kind of unheard of now.
• 11:57
  Speaker 8: I think that if you don't let your kids watch
• 11:59
  Speaker 8: more than half an hour, I think that's like child
• 12:01
  Speaker 8: abuse now. But, yeah, I mean, my nearest friends were
• 12:09
  Speaker 8: just far too far away to go visit.
• 12:12
  Speaker 7: Yeah.
• 12:13
  Speaker 1: And it's, and it's not for me, it's not so
• 12:15
  Speaker 1: much that they were too far away. I did get
• 12:17
  Speaker 1: out and, and, uh, ride my bike and stuff, but
• 12:21
  Speaker 1: I found it for me, I was more comfortable in my,
• 12:25
  Speaker 1: you know, in my little bubble playing with Legos and,
• 12:28
  Speaker 1: and the construction paper. And I never, it never got old.
• 12:31
  Speaker 1: You know, I always loved creating stuff and then I destroy,
• 12:35
  Speaker 1: you know, battles crumpling it up and, you know, and
• 12:37
  Speaker 1: then I'd redo it something else.
• 12:40
  Speaker 7: And, um, And yeah.
• 12:42
  Speaker 5: I think I'm still in that phase. I've rekindled a
• 12:45
  Speaker 5: weird Lego thing lately. I'm back to building Legos. So,
• 12:50
  Speaker 5: I mean, for you, when you got to that point,
• 12:53
  Speaker 5: because you were still just kind of watching TV, like
• 12:57
  Speaker 5: at what point did it start becoming like, how can
• 13:00
  Speaker 5: I take these interests I have? And then, because eventually
• 13:03
  Speaker 5: you're going to end up with a job. Did it
• 13:04
  Speaker 5: occur to you early on that it was, Potential to
• 13:07
  Speaker 5: even have a job in the industry?
• 13:09
  Speaker 1: No. The science fiction aspect was always there. I loved
• 13:14
  Speaker 1: creating props, paper props, really. And then in my young
• 13:20
  Speaker 1: adult years, I started doing casting resins and stuff. My
• 13:26
  Speaker 1: brother-in-law at the time was a Star Trek fan. Well,
• 13:29
  Speaker 1: he still is. And he would go to Star Trek conventions.
• 13:32
  Speaker 1: And he took me a couple times. And I got
• 13:35
  Speaker 1: hooked on it. And my first autograph was James Doohan.
• 13:39
  Speaker 1: And that was at the Philadelphia Expo or something. And
• 13:43
  Speaker 1: Marina Sirtis was there. And that, I loved the atmosphere.
• 13:51
  Speaker 1: I'm still a fan. I'm a fan first. I don't
• 13:54
  Speaker 1: consider myself an industry person. That's just my career. But
• 13:57
  Speaker 1: I'm a geek. When I refer to everybody, when the
• 14:02
  Speaker 1: doors open up and say, Comic Con, you know, San
• 14:05
  Speaker 1: Diego Comic Con or Dragon Con and you see everybody running,
• 14:07
  Speaker 1: you know, I always say, oh, there's the annual running
• 14:09
  Speaker 1: of the nerds. But, but really it's, you know, I'm
• 14:12
  Speaker 1: right there along with them.
• 14:13
  Speaker 3: Yeah.
• 14:13
  Speaker 1: Wanting to get to those booths that have those little specials,
• 14:16
  Speaker 1: a limited edition stuff. Yeah. But, um, but I had
• 14:23
  Speaker 1: many jobs over the years. Um, I've done pretty much
• 14:26
  Speaker 1: anything and everything. My field that I wanted to go into, um,
• 14:30
  Speaker 1: was aviation. And, um, I eventually, I won't name the airlines,
• 14:36
  Speaker 1: but I did destructive, non-destructive inspection. So it was ultrasound, dipenetrant,
• 14:42
  Speaker 1: mag particle. And eventually the industry started having issues, mergers, outsourcing, maintenance.
• 14:50
  Speaker 1: And then I got a severance package and then I
• 14:53
  Speaker 1: went back to college.
• 14:54
  Speaker 5: So that was pretty far in that you already had
• 14:57
  Speaker 5: been working there for a good run.
• 14:59
  Speaker 1: And I already had a degree. And then I went back.
• 15:03
  Speaker 1: to college to transfer a lot of credits over to
• 15:05
  Speaker 1: source something else and started freelancing and engineering work and
• 15:10
  Speaker 1: designing all kinds of weird stuff.
• 15:14
  Speaker 7: You said Philadelphia, right?
• 15:15
  Speaker 1: Yeah, Expo. Oh, no, Newark. Well, I was born and
• 15:20
  Speaker 1: raised primarily around Newark, New Jersey. And then my dad
• 15:25
  Speaker 1: died when I was 13. It was in 83. Mm-hmm.
• 15:30
  Speaker 1: And my mom thought it would be– yeah, I took
• 15:32
  Speaker 1: it hard. My mom thought it would be better if
• 15:34
  Speaker 1: I went and lived with his sister, which really wasn't
• 15:37
  Speaker 1: because they looked exactly identical. So that was pretty hard.
• 15:41
  Speaker 1: So I lived with her for about a year before
• 15:43
  Speaker 1: the rest of the family moved out.
• 15:44
  Speaker 8: Well, the point being that where you grew up and
• 15:46
  Speaker 8: where I grew up, they were not places where films
• 15:51
  Speaker 8: were made. And so the possibility of working in film
• 15:56
  Speaker 8: and TV was– It wasn't even a possibility. I grew
• 16:04
  Speaker 8: up in Vancouver Island, which is close to Vancouver, and
• 16:09
  Speaker 8: at that time there were no productions going through there.
• 16:13
  Speaker 7: We had the news, we had maybe a couple of
• 16:17
  Speaker 7: local shows, and that was about it.
• 16:20
  Speaker 8: The possibility of going to work on a science fiction
• 16:25
  Speaker 8: film was zero. Not even 99.9, it was zero. And
• 16:33
  Speaker 8: so it's amazing that having grown up so far away
• 16:40
  Speaker 8: that we found our way through context or whatever, finding
• 16:47
  Speaker 8: ourselves working on these productions that essentially these were like,
• 16:52
  Speaker 8: we would only consider them to be dreams.
• 16:54
  Speaker 7: Yeah.
• 16:55
  Speaker 9: Yeah.
• 16:56
  Speaker 7: Yeah.
• 16:58
  Speaker 3: Yeah.
• 16:58
  Speaker 1: Yeah. Yeah.
• 17:00
  Speaker 7: Yeah.
• 17:01
  Speaker 5: So at what, I mean, you'd already, you said you'd,
• 17:03
  Speaker 5: you'd kind of messed around with casting early on. So what,
• 17:06
  Speaker 5: at what point did you get kind of get back into,
• 17:10
  Speaker 5: I guess, is that the, what kind of led you
• 17:12
  Speaker 5: into the props or, or which, what was it?
• 17:15
  Speaker 1: It was the combination of all the different jobs that
• 17:17
  Speaker 1: I've had over the years that I drew from all
• 17:20
  Speaker 1: the different experiences. And, and you know, that saying of, um, uh,
• 17:25
  Speaker 1: I'm a, um, Jack of all trades, but master of none. Yeah,
• 17:29
  Speaker 1: that's a lot of people out there. That's pretty much it.
• 17:32
  Speaker 1: Bruce Lee says, take what's useful, discard what's useless. So
• 17:38
  Speaker 1: I did that. I took things that I felt were
• 17:42
  Speaker 1: more important in different fabrications or different jobs that I've learned,
• 17:46
  Speaker 1: and most of them were trades. And I pulled from that,
• 17:49
  Speaker 1: and I kept that. And I think I don't even
• 17:53
  Speaker 1: remember the first time I thought, of doing, utilizing that
• 17:58
  Speaker 1: stuff as a career, it kind of fell in. It
• 18:00
  Speaker 1: was like an overnight thing. It kind of fell into
• 18:02
  Speaker 1: my lap. And I started doing some local theater and
• 18:06
  Speaker 1: playhouse stuff, you know, breakable bottles and stuff. And I
• 18:08
  Speaker 1: remember my first book I bought on how to mix
• 18:12
  Speaker 1: some resins and working with sugar water and all kinds
• 18:16
  Speaker 1: of stuff. And so I did that. You know, I
• 18:19
  Speaker 1: did a lot of volunteer stuff at the local playhouse
• 18:22
  Speaker 1: and stuff. And then eventually I got a gig in
• 18:26
  Speaker 1: New York City doing some scenery stuff. And then I'm like, hmm,
• 18:34
  Speaker 1: this is pretty cool. And then I started at the
• 18:36
  Speaker 1: bottom just doing weird stuff. But I was always into
• 18:39
  Speaker 1: weapons and gadgets. And I think along the way, I
• 18:46
  Speaker 1: started making contacts. That was the big thing for me.
• 18:49
  Speaker 1: It isn't as easy as... make a phone call and
• 18:52
  Speaker 1: getting your foot in the door. It's prop masters that
• 18:57
  Speaker 1: are comfortable giving you a break and taking a chance
• 19:00
  Speaker 1: because they're on deadlines and they have to get it right.
• 19:04
  Speaker 1: And I think from all the stuff that I've built
• 19:07
  Speaker 1: over the years up until that point and having built
• 19:13
  Speaker 1: a lot of models and having those, or at least
• 19:18
  Speaker 1: Polaroids of them, And, yeah, I think that and the
• 19:24
  Speaker 1: fact that my mom.
• 19:25
  Speaker 7: For those of you at home, Polaroids are photographs. Yeah.
• 19:29
  Speaker 5: Back in the olden days, digital, you know, wasn't a thing.
• 19:32
  Speaker 5: You had to physically hold your phone.
• 19:36
  Speaker 1: Here's another thing about my mom real quick is Halloween,
• 19:41
  Speaker 1: she made all her costumes and she'd go to the
• 19:44
  Speaker 1: fabric store and she'd get felt. I was, man, she
• 19:48
  Speaker 1: made some kick butt. costumes. I was Superman. I was
• 19:54
  Speaker 1: Han Solo. I was Buck Rogers. The one I wasn't
• 19:57
  Speaker 1: too keen on because of the tights was Robin Hood.
• 20:01
  Speaker 1: Robin Hood. I wasn't keen on that one, but I
• 20:06
  Speaker 1: did a costume and I won first place. So it's like,
• 20:08
  Speaker 1: so there was that creative side. We didn't have, so
• 20:11
  Speaker 1: we made. And that's what I took away from, you know,
• 20:15
  Speaker 1: my family and my mom contributing to that, or at
• 20:17
  Speaker 1: least setting the tone.
• 20:20
  Speaker 5: That is, yeah. I mean, that's what I was saying. Like,
• 20:22
  Speaker 5: it is such a specialized thing that it was, that's
• 20:25
  Speaker 5: why I was wondering how you even start from anything.
• 20:29
  Speaker 5: So yeah, I guess like the theater end of it,
• 20:31
  Speaker 5: you know, as far as the practical side. kind of
• 20:34
  Speaker 5: learning to do the basics.
• 20:35
  Speaker 8: It was really cool that you had a mom who
• 20:39
  Speaker 8: would make it, make something, rather than nowadays just go
• 20:44
  Speaker 8: to Walmart and buy something.
• 20:45
  Speaker 1: She was really good, too, because I look back at
• 20:48
  Speaker 1: some photographs and I'm like, wow, that Han Solo costume,
• 20:52
  Speaker 1: she got that really great. And she's the one that
• 20:56
  Speaker 1: took us to the movies. And back then, you pay once,
• 20:59
  Speaker 1: you can stay in there all day long and watch
• 21:01
  Speaker 1: the movie a million times. And she would love to
• 21:04
  Speaker 1: do that for us. So we'd sit there and watch
• 21:06
  Speaker 1: Superman or Star Wars or whatever for as many times
• 21:10
  Speaker 1: as the theater was playing it. And I don't think
• 21:14
  Speaker 1: you can do that. You can't do that now.
• 21:15
  Speaker 5: No, they clear the house now.
• 21:19
  Speaker 1: But my dad worked. He was a metallurgist and a
• 21:23
  Speaker 1: heat treater. And he worked double shifts. And he tried
• 21:29
  Speaker 1: so hard to provide for us. And he succeeded. Whether
• 21:33
  Speaker 1: he knows that or not, he did.
• 21:35
  Speaker 5: I mean, for anybody that's trying to keep a family
• 21:37
  Speaker 5: going at this point, I still don't know how people
• 21:39
  Speaker 5: can afford to do it. Especially with a lot of
• 21:43
  Speaker 5: kids and not having a ton of income.
• 21:45
  Speaker 1: All the electric was turned off numerous times. Mac and cheese.
• 21:51
  Speaker 1: My favorite, and I thought we were eating like kings,
• 21:53
  Speaker 1: was mac and cheese with applesauce and ketchup mixed all together.
• 21:57
  Speaker 1: I loved it. I still do it to this day.
• 22:01
  Speaker 1: Guilty as charged.
• 22:02
  Speaker 5: Quite a mixture there.
• 22:03
  Speaker 7: Care to divulge your recipe online here?
• 22:07
  Speaker 1: If you want to eat like Ken Palgo.
• 22:11
  Speaker 7: This is what you do.
• 22:12
  Speaker 1: The ultimate low is, you know, we used to get
• 22:17
  Speaker 1: these blocks of cheese because we were so poor. And
• 22:21
  Speaker 1: my mom would slice the cheese and put mayonnaise on it.
• 22:24
  Speaker 1: And that was our ultimate low. But you know what?
• 22:27
  Speaker 5: That sounds pretty good to me.
• 22:28
  Speaker 1: But we were still, you know. But you do what
• 22:30
  Speaker 1: you got to do, you know. But I think the
• 22:32
  Speaker 1: point I do want to make is the family, the
• 22:36
  Speaker 1: parents' involvement to shape that initial, I guess, mold, the initial,
• 22:43
  Speaker 1: you know, foundation into the children is important, I feel.
• 22:48
  Speaker 5: It kind of instills that work ethic that you're going
• 22:53
  Speaker 5: to have to have moving forward.
• 22:54
  Speaker 8: You know, you kind of plant that idea that If
• 22:58
  Speaker 8: there's something that you want to do, you can make
• 23:00
  Speaker 8: it yourself.
• 23:01
  Speaker 2: Yeah.
• 23:01
  Speaker 8: Yeah, you can do it. It's not, oh, I don't
• 23:04
  Speaker 8: have this. I want to go out and buy it.
• 23:07
  Speaker 5: Yeah.
• 23:07
  Speaker 7: No.
• 23:08
  Speaker 8: And it sounds weird, but a real godsend in recent
• 23:13
  Speaker 8: years is the dollar store.
• 23:15
  Speaker 7: Yeah.
• 23:15
  Speaker 8: Because that's a wonderful place to go and buy bits
• 23:18
  Speaker 8: and pieces, and you can make your own stuff.
• 23:21
  Speaker 1: I sent you to the store to get all those
• 23:23
  Speaker 1: lighters for Cable's gun from– Deadpool 2, remember that? I
• 23:29
  Speaker 1: called them up. I said, dude, I'm going to need
• 23:30
  Speaker 1: all these lighters, man. You've got to go down to this.
• 23:33
  Speaker 7: It's a very specific lighter.
• 23:35
  Speaker 1: It's a very specific lighter. It's on the checkouts by
• 23:39
  Speaker 1: the register. See what they got. Buy it all up.
• 23:43
  Speaker 1: And then I started joking when I'm like, good luck, cosplayers.
• 23:47
  Speaker 1: You're not going to find any more.
• 23:49
  Speaker 7: We bought them all up.
• 23:50
  Speaker 5: Somebody stole all these lighters.
• 23:52
  Speaker 7: So if you want a screen-accurate... Cable gun.
• 23:55
  Speaker 1: Rebly.
• 23:56
  Speaker 7: Rebly.
• 23:57
  Speaker 1: It does absolutely nothing. It means nothing, but it's there.
• 24:00
  Speaker 7: Go to the Dola store and you can find it.
• 24:02
  Speaker 1: Yeah, if you watch him assembling the rifle and he's
• 24:04
  Speaker 1: got the schematic in holographic mode, look for the lighters
• 24:08
  Speaker 1: and they're there in the schematic too and they do
• 24:10
  Speaker 1: absolutely nothing.
• 24:13
  Speaker 5: So once it got to the point of getting into film,
• 24:17
  Speaker 5: what was that initial thing that took you into it?
• 24:20
  Speaker 5: Because you were still just kind of doing stage. So
• 24:22
  Speaker 5: what was it that kind of, made it possible for
• 24:25
  Speaker 5: you to kind of get to that point?
• 24:26
  Speaker 1: That's a good question. I can't even think back. What
• 24:31
  Speaker 1: was it?
• 24:33
  Speaker 7: Well, stage and film are not that far apart.
• 24:35
  Speaker 5: Yeah, at least then you're doing it.
• 24:36
  Speaker 7: There are people that go to stage that also go.
• 24:39
  Speaker 1: Phantom of the Opera was the moment. I went to
• 24:42
  Speaker 1: go see that, and I never thought I would like
• 24:46
  Speaker 1: plays and stuff, and I went and saw Phantom of
• 24:48
  Speaker 1: the Opera, and I'm like, I need to pursue this.
• 24:51
  Speaker 5: That's a pretty great movie.
• 24:52
  Speaker 1: But it wasn't pursue film. It was more pursue working
• 24:56
  Speaker 1: in theater and on set. And that's when the moment
• 25:01
  Speaker 1: when it kicked in. Now, as far as what films
• 25:05
  Speaker 1: and shows and things that I've worked on over the years,
• 25:08
  Speaker 1: I've almost given up on doing anything with IMDb as
• 25:12
  Speaker 1: far as updating to keep it updated, keep it updated.
• 25:15
  Speaker 1: I don't, I don't, there's, you know, as far as
• 25:20
  Speaker 1: what particular thing, Um, it would be Phantom of the Opera,
• 25:24
  Speaker 1: seeing that for the, for the first time and seeing,
• 25:27
  Speaker 1: you know, gunfire going off behind me and the Phantom
• 25:32
  Speaker 1: up in the way up top, crossing over here and there.
• 25:36
  Speaker 1: And then the movable sets, which that's one of the
• 25:38
  Speaker 1: things I was working on is a movable sets. And
• 25:41
  Speaker 1: I just had, it just was overwhelming. And keeping in mind,
• 25:44
  Speaker 1: I was still doing full-time jobs or part-time jobs and,
• 25:47
  Speaker 1: i did everything i mean whatever it was i could
• 25:50
  Speaker 1: do to make make money yeah i.
• 25:53
  Speaker 5: Mean that was that era when they the the broadway
• 25:56
  Speaker 5: level of plays got taken up almost to hollywood standing
• 25:59
  Speaker 5: when you have build this giant chandelier just so it
• 26:02
  Speaker 5: can fall or we're gonna put a helicopter in the
• 26:04
  Speaker 5: middle of this play yeah that's the stuff they started
• 26:07
  Speaker 5: working in in that era so it did sort of
• 26:09
  Speaker 5: dial it up to that level of epic you know
• 26:13
  Speaker 5: almost ridiculous level of Can we make this happen on stage?
• 26:16
  Speaker 1: But there wasn't a lot of science fiction in the plays.
• 26:19
  Speaker 1: And I think that may have pushed me into looking
• 26:22
  Speaker 1: at other avenues and calling people and looking at credits
• 26:26
  Speaker 1: and seeing who was doing this and who was doing that,
• 26:28
  Speaker 1: trying to find out how I can contact them. And
• 26:31
  Speaker 1: back then, you didn't have Facebook. You didn't have these
• 26:34
  Speaker 1: social media outlets that you could just go, hey, here
• 26:38
  Speaker 1: I am. It's not like that. It wasn't like that.
• 27:02
  Speaker 10: Thank you.
• 27:52
  Speaker 2: Yes, folks, it's intermission time. So how about taking a break?
• 27:56
  Speaker 2: Get out and stretch a little and relax before the
• 27:59
  Speaker 2: show begins again. And why not make it refreshment time, too?
• 28:04
  Speaker 2: We have lots of tasty, delicious treats waiting for you
• 28:07
  Speaker 2: at the refreshment center. There's hot popcorn, so golden good
• 28:11
  Speaker 2: and fresh out of the popper. And all kinds of
• 28:14
  Speaker 2: refreshing ice-cold soft drinks. Sizzling hot dogs just bursting with
• 28:19
  Speaker 2: juicy goodness. Ice cream so smooth and delicious, you'll hanker
• 28:23
  Speaker 2: for more. Plus, all the most popular candy bars and
• 28:27
  Speaker 2: many other favorite treats. So why not visit the refreshment
• 28:30
  Speaker 2: center now? Our courteous attendants are ready and waiting to
• 28:33
  Speaker 2: serve you with a wide and wonderful variety of good
• 28:37
  Speaker 2: things to eat and drink. So step right up and
• 28:40
  Speaker 2: make yourself at home.
• 28:54
  Speaker 5: Don't you guys like horror?
• 28:56
  Speaker 4: Yeah.
• 28:57
  Speaker 5: Don't you think everybody should join the Meltketeer Horror Club?
• 29:01
  Speaker 1: Yes.
• 29:01
  Speaker 5: I think you should go to MovieMeltdown.com right now and
• 29:05
  Speaker 5: just click on the Patreon link and join up. And
• 29:07
  Speaker 5: then all these amazing horror-themed episodes we've got coming up
• 29:11
  Speaker 5: that you can listen to at the lowest level. I
• 29:14
  Speaker 5: try to keep it so everybody can join in. So
• 29:17
  Speaker 5: you can throw more money at us if you want.
• 29:19
  Speaker 5: But mostly, as long as you kick in a couple
• 29:23
  Speaker 5: of bucks, you can always listen to to the horror
• 29:25
  Speaker 5: episodes and experience the horror with us. So join the
• 29:31
  Speaker 5: club now.
• 29:32
  Speaker 2: Yeah.
• 29:33
  Speaker 1: Don't you want to be cool? Yeah.
• 29:34
  Speaker 5: I mean, really don't you want to be cool? All
• 29:36
  Speaker 5: the cool kids are doing it.
• 29:38
  Speaker 7: Okay.
• 29:39
  Speaker 5: Wait, just, by being a movie geek, you're already not
• 29:41
  Speaker 5: a cool kid.
• 29:42
  Speaker 3: Neither are we.
• 29:43
  Speaker 5: So, all the geeks are doing it. Join the club now.
• 29:47
  Speaker 5: Cool's a relative term anyway. Certainly is today. So, yeah.
• 29:54
  Speaker 5: Get on board. Join right now and you can partake
• 29:57
  Speaker 5: in that. And all of our other ridiculous discussions about horror.
• 30:01
  Speaker 5: What is the minimum again?
• 30:03
  Speaker 7: Two bucks. Two dollars. Two dollars.
• 30:05
  Speaker 1: Two dollars.
• 30:06
  Speaker 5: That's all you need to listen to the episodes. So,
• 30:09
  Speaker 5: I mean, it kind of keeps us alive. I was
• 30:12
  Speaker 5: discussing the horrible situation it's been to try to keep
• 30:16
  Speaker 5: things going earlier to these poor bastards. Like, yeah, it's
• 30:20
  Speaker 5: not just like, hey, I'm rich and I want your
• 30:23
  Speaker 5: money anyway. It's, It really does keep the show going
• 30:26
  Speaker 5: to the level that people don't realize. It's kind of
• 30:29
  Speaker 5: the only way it's survived this last year and a
• 30:32
  Speaker 5: half or so since we started this.
• 30:35
  Speaker 7: Yeah.
• 30:36
  Speaker 5: So it is not only greatly appreciated, but it gives
• 30:40
  Speaker 5: us kind of a good way to come up with
• 30:42
  Speaker 5: something specific to put out there just for these people
• 30:45
  Speaker 5: that we don't no actually care enough to kick in.
• 30:48
  Speaker 5: So you get a lot of great stuff for that too.
• 30:50
  Speaker 5: That's what I'm saying. I like, I like being able
• 30:52
  Speaker 5: to craft something for a very special group. So you
• 30:55
  Speaker 5: guys are super cool. And then you get these awesome episodes.
• 30:58
  Speaker 5: So one more reason, go join up now. So go
• 31:02
  Speaker 5: to our Patreon page, join the meltdown club, become a
• 31:05
  Speaker 5: milk a tear. You get cool stuff and you can
• 31:08
  Speaker 5: help us keep the meltdown rolling. Damn the man, save
• 31:12
  Speaker 5: the meltdown. Oh, I'm really excited about this flick.
• 31:22
  Speaker 1: Oh, yes?
• 31:23
  Speaker 2: Excited enough to flick your bick? I love to flick.
• 31:27
  Speaker 9: But this theater has its rules and regulations during the flick.
• 31:31
  Speaker 2: What you mean is we can't flick our bicks.
• 31:35
  Speaker 3: In the thick of the flick?
• 31:37
  Speaker 1: That's very bright.
• 31:42
  Speaker 4: Yes, there's an air about hot coffee that's hard to resist. Full-bodied,
• 31:48
  Speaker 4: refreshing hot coffee makes any time a pleasant interlude. Won't
• 31:54
  Speaker 4: you have some now?
• 31:55
  Speaker 5: We should have our coffee. I know you like coffee.
• 32:02
  Speaker 11: Oh my god, is this a segue to something?
• 32:05
  Speaker 5: What? You don't want to run out to Heine Brothers
• 32:07
  Speaker 5: right now?
• 32:08
  Speaker 11: Actually, now that you mention it, I'm drinking some fine
• 32:11
  Speaker 11: coffee here, but I feel like enjoying a nice hot
• 32:14
  Speaker 11: cup from my local Heine brothers might actually be an
• 32:17
  Speaker 11: even better idea.
• 32:18
  Speaker 5: Well, really, you don't even have to leave the house.
• 32:20
  Speaker 5: You could just have it ordered right to your doorstep.
• 32:23
  Speaker 2: Really?
• 32:24
  Speaker 1: Yeah.
• 32:24
  Speaker 5: I can do that now? It's not just something you
• 32:26
  Speaker 5: can do. You can also get a deal from your
• 32:29
  Speaker 5: friends at Movie Meltdown.
• 32:30
  Speaker 12: No way.
• 32:31
  Speaker 5: Movie Meltdown?
• 32:32
  Speaker 11: That's the show we're on, right?
• 32:33
  Speaker 5: Yeah, this one right now.
• 32:35
  Speaker 11: Oh, that's awesome. Hey, insert a sound of me kicking
• 32:37
  Speaker 11: over this table with this substandard coffee.
• 32:40
  Speaker 5: There right there yeah yeah you heard.
• 32:42
  Speaker 11: And then and then uh and then uh let's run
• 32:45
  Speaker 11: out jump in the car and then screech sound effect
• 32:47
  Speaker 11: as we head on down to our local heinie brothers.
• 32:50
  Speaker 5: There man subtle subtle segue i.
• 32:57
  Speaker 6: Want to tell you about the heinie brothers coffee subscription
• 33:01
  Speaker 6: wherever you are home work or out on the road
• 33:04
  Speaker 6: you deserve great coffee And the Heine Brothers subscription plan
• 33:07
  Speaker 6: gives you top quality, organic, fair trade coffee delivered right
• 33:11
  Speaker 6: to your home or office automatically. You select the frequency,
• 33:15
  Speaker 6: the quantity, and the variety of coffee, and Heine Brothers
• 33:18
  Speaker 6: will take care of the rest, shipping included. So just
• 33:21
  Speaker 6: order online at heinebrotherscoffee.com slash subscription and use the offer
• 33:25
  Speaker 6: code Meltdown for $ 5 off any gift subscription. And if
• 33:28
  Speaker 6: you're not familiar with Honey.
• 33:29
  Speaker 5: Brothers Coffee, or the spelling, or any of that that
• 33:32
  Speaker 5: might make it a little harder, just go to MovieMeltdown.com
• 33:35
  Speaker 5: and look on the right-hand side of the page, and
• 33:36
  Speaker 5: you'll find a link to take you right to HoneyBrothersCoffee.com.
• 33:40
  Speaker 5: That's right, the Meltdown Caffeinated Movie Geeks.
• 33:42
  Speaker 6: Are hooking you up, so get your subscription started today.
• 33:45
  Speaker 12: Hey everybody, my name is Jonathan Frakes, and you're listening
• 33:55
  Speaker 12: to Movie Meltdown.
• 34:00
  Speaker 13: It's part of your problem, you know. You haven't seen
• 34:18
  Speaker 13: enough movies.
• 34:19
  Speaker 4: All of life's riddles are answered in the movies. And now,
• 34:25
  Speaker 4: on with the show.
• 34:27
  Speaker 13: And I'll never stop.
• 34:30
  Speaker 5: Inner Starlight is endless. Next time you leave me off
• 34:33
  Speaker 5: your top ten list, remember only the bravest DJ will
• 34:36
  Speaker 5: request my drops. I came to collect my props.
• 34:40
  Speaker 7: I got to get my props.
• 34:43
  Speaker 1: Props is a true thug's wife.
• 34:44
  Speaker 13: Watch, watch me.
• 34:46
  Speaker 5: Stand around the job. I got to get my props.
• 34:53
  Speaker 1: Props is a true thug's wife. Now I get a
• 35:02
  Speaker 1: ton of people emailing me and you're easy to find. Hey,
• 35:06
  Speaker 1: by any chance, you got any props or so? Hey,
• 35:09
  Speaker 1: were you the guy that did this? Do you have
• 35:11
  Speaker 1: any extras? Hey, can you get... Oh, this is my
• 35:13
  Speaker 1: personal favorite. I get this one woman or I don't
• 35:18
  Speaker 1: know how old she is, but I'm going to say
• 35:19
  Speaker 1: young woman contacts me from the UK and She joined
• 35:25
  Speaker 1: IMDB Pro so she can get my contact info and
• 35:28
  Speaker 1: then hit me up to ask me for Ryan Reynolds' autograph.
• 35:33
  Speaker 1: And I said, you do know you're asking a taller ear, right?
• 35:37
  Speaker 1: So here I am. I'm like, I was actually impressed
• 35:42
  Speaker 1: by her level of motivation and drive.
• 35:45
  Speaker 5: Commitment, that's, yeah.
• 35:46
  Speaker 1: And her story was that she went to all these
• 35:49
  Speaker 1: avenues to try and get his autograph or get someone
• 35:53
  Speaker 1: to help her. And no one would help her. And
• 35:57
  Speaker 1: it reminded me of me. So I'm like, you know what?
• 36:00
  Speaker 1: I'm going to be that guy that does reach out.
• 36:03
  Speaker 1: And I emailed it back. I said, I'll do what
• 36:05
  Speaker 1: I can. And next thing you know, I'm doing favors
• 36:08
  Speaker 1: for people on set. And I'm like, you know.
• 36:12
  Speaker 7: What sort of favors?
• 36:14
  Speaker 1: Only you. But in the end, I went to the
• 36:18
  Speaker 1: prop master. I said, would it be out of line?
• 36:21
  Speaker 1: Can we do this? Yeah. It is for this woman
• 36:24
  Speaker 1: that has, she's got drive, man. And prop master said, okay, well, yeah,
• 36:31
  Speaker 1: go ahead.
• 36:32
  Speaker 5: I would say in this day and age, almost a
• 36:33
  Speaker 5: dangerous level of drive. You kind of worry about that
• 36:37
  Speaker 5: with some fans out there.
• 36:38
  Speaker 1: But I did get Ryan to turn around and give
• 36:40
  Speaker 1: me one too.
• 36:41
  Speaker 5: And then that's just making good use of that.
• 36:43
  Speaker 7: Yeah.
• 36:44
  Speaker 1: So she got her autograph and yeah.
• 36:47
  Speaker 7: Have you heard from her since?
• 36:48
  Speaker 5: No. What a jerk. After all you did. She should
• 36:53
  Speaker 5: have at least baked you cookies or something.
• 36:57
  Speaker 1: What about you, Eric?
• 36:58
  Speaker 7: What about me?
• 36:59
  Speaker 5: Do you hang out with Ryan Reynolds?
• 37:01
  Speaker 7: Oh yeah, do you?
• 37:03
  Speaker 5: You should. He's kind of dreamy.
• 37:05
  Speaker 7: I know somebody named Ryan and I know somebody named Reynolds.
• 37:07
  Speaker 5: That's not really the same.
• 37:11
  Speaker 1: No, but I mean, what was it for you at
• 37:13
  Speaker 1: that point?
• 37:15
  Speaker 8: Um, Like I said, I never believed that I would
• 37:25
  Speaker 8: make it into the live action side of things.
• 37:29
  Speaker 7: In Vancouver and in Canada, we have the NFB. And
• 37:38
  Speaker 7: to a certain extent, they do support animation.
• 37:42
  Speaker 8: So I could draw. I could do cartoons. And that
• 37:47
  Speaker 8: was sort of my in to film, to being connected
• 37:50
  Speaker 8: to film, was to get hired at a, sorry, to
• 37:54
  Speaker 8: study animation at an art school and then go on
• 37:57
  Speaker 8: and get hired at an animation studio. I didn't think
• 38:02
  Speaker 8: I could get into doing live action except for when
• 38:08
  Speaker 8: I started working for an animation company in Vancouver who
• 38:12
  Speaker 8: shared the office space with somebody who did compositing for
• 38:21
  Speaker 8: TV shows. And just through contacts and we're looking for
• 38:26
  Speaker 8: somebody who can do some drawings.
• 38:29
  Speaker 7: So I ended up helping.
• 38:31
  Speaker 8: Out the effects supervisor of a show called A Wrinkle
• 38:37
  Speaker 8: in Time.
• 38:38
  Speaker 7: And he just needed some simple sketches and Photoshop.
• 38:45
  Speaker 8: Collages to sort of indicate what the effect would look
• 38:50
  Speaker 8: like in a certain shot. And that effect supervisor turned
• 38:54
  Speaker 8: out to be Gary Hutzel. I didn't know who Gary
• 38:58
  Speaker 8: Hutzel was. I didn't realize that he had any connection
• 39:01
  Speaker 8: to Star Trek or anything. But I just knew him
• 39:04
  Speaker 8: as a guy who worked on Wrinkle in Time.
• 39:07
  Speaker 7: Then he goes away.
• 39:10
  Speaker 8: He went back to Hollywood and then came back up
• 39:13
  Speaker 8: to Vancouver a while later working on Battlestar Galactica. And
• 39:20
  Speaker 8: it just so happened that at that time there were
• 39:23
  Speaker 8: a bunch of productions happening in Vancouver and they couldn't
• 39:25
  Speaker 8: find a concept artist. So Gary asked me, he said,
• 39:30
  Speaker 8: do you want to work on Battlestar Galactica? And my
• 39:35
  Speaker 8: jaw hit the floor. And at that time, I'd only
• 39:40
  Speaker 8: been doing animation, cartoon work. And I wasn't certain. For myself,
• 39:48
  Speaker 8: I wasn't confident whether I could do spaceships or the very,
• 39:51
  Speaker 8: very realistic stuff.
• 39:52
  Speaker 1: But you worked on some really good animations in your career.
• 39:56
  Speaker 7: But it's still cartoony. I mean, I'd done storyboards for
• 40:01
  Speaker 7: like a couple of live action things. I did storyboards
• 40:04
  Speaker 7: for a.
• 40:05
  Speaker 8: Movie called The Gate 2. And then I also ended
• 40:08
  Speaker 8: up doing storyboards for Captain Power, which is a science fiction-y, almost.
• 40:15
  Speaker 7: B-movie sort of. TV series.
• 40:19
  Speaker 8: But it wasn't until Battlestar Galactica came around that, you know,
• 40:27
  Speaker 8: that they, I, well, essentially, because I only did cartoony
• 40:35
  Speaker 8: stuff and Gary Hudson offered me to do Battlestar Galactica,
• 40:39
  Speaker 8: I ended up, you know, locking myself in my room
• 40:43
  Speaker 8: and just drawing spaceships for weeks until I felt confident
• 40:47
  Speaker 8: that I could do it. And I said, yeah, I
• 40:49
  Speaker 8: think I can, you know, I wasn't about to give
• 40:51
  Speaker 8: up that chance. But so that's how I got hired on.
• 40:56
  Speaker 7: I just.
• 40:59
  Speaker 8: Worked really, really hard for several weeks until I felt
• 41:02
  Speaker 8: I was confident to draw. And, you know, I look
• 41:05
  Speaker 8: back at those drawings and, yeah, they're not great.
• 41:06
  Speaker 1: But the thing is, the thing I like about working
• 41:11
  Speaker 1: with Eric is, versus a lot of other concept artists is,
• 41:16
  Speaker 1: When I'm fabricating, I want the point across, but keep
• 41:20
  Speaker 1: it as simple as possible because then I can fill
• 41:23
  Speaker 1: in the blanks as whether it's going to work physically
• 41:26
  Speaker 1: or not. You get a lot of artists that get
• 41:28
  Speaker 1: so detailed and they fail to realize is it possible
• 41:33
  Speaker 1: within the budget, the lead time, and they create such
• 41:36
  Speaker 1: an issue because in the end, from the time the
• 41:39
  Speaker 1: concept artist is hired, the deadline for that prop to
• 41:43
  Speaker 1: be a reality never changes. So if that concept artist
• 41:46
  Speaker 1: takes several weeks and I've got two weeks left, it
• 41:50
  Speaker 1: kind of pisses me off.
• 41:51
  Speaker 7: But here's the thing. That concept artist is not trying
• 41:54
  Speaker 7: to help you.
• 41:56
  Speaker 1: He doesn't care about me.
• 41:57
  Speaker 7: He's helping himself. He's trying to wow the director or
• 42:00
  Speaker 7: the producer.
• 42:01
  Speaker 8: I'll put a bunch of detail on this and the
• 42:04
  Speaker 8: director will go, wow, that's really cool.
• 42:07
  Speaker 7: Without any regard to whether it's possible within the budget.
• 42:10
  Speaker 13: Right.
• 42:10
  Speaker 5: If you've never built anything like that, you don't even
• 42:12
  Speaker 5: think about, is this even physically possible?
• 42:15
  Speaker 1: Because it's not.
• 42:16
  Speaker 5: All they have to do is draw. Exactly.
• 42:17
  Speaker 1: And the problem is when the director signs off, and
• 42:20
  Speaker 1: that's greenlit, my job is now harder to have to
• 42:25
  Speaker 1: get it re-greenlit. So what I like about Eric is
• 42:29
  Speaker 1: he knows if I'm looking for something, he gives me
• 42:32
  Speaker 1: the point, and I can see his vision where he
• 42:35
  Speaker 1: doesn't have to get overly detailed. And he's really quick
• 42:39
  Speaker 1: at getting his stuff done.
• 42:40
  Speaker 8: I think the difference is that you and I don't
• 42:43
  Speaker 8: work in a vacuum. I'll show you roughs and then
• 42:47
  Speaker 8: you can say whether or not it's possible or not.
• 42:50
  Speaker 1: And then you'll make changes.
• 42:52
  Speaker 7: Gradually I'll add more and add more and refine until
• 42:55
  Speaker 7: the point that you and I are comfortable with the
• 42:58
  Speaker 7: final design.
• 42:59
  Speaker 1: And that's the problem that I have with a lot
• 43:02
  Speaker 1: of concept artists is they don't care. They'll do the artwork.
• 43:05
  Speaker 1: It's not that they don't care. They just They're already
• 43:07
  Speaker 1: working on something else.
• 43:08
  Speaker 5: Yeah, it just doesn't even occur to them.
• 43:09
  Speaker 1: Here's an example. Sometimes I'll get artwork that's so busy
• 43:13
  Speaker 1: that the artist doesn't realize when you're working with one
• 43:17
  Speaker 1: of your big monitors and you're drawing a handgun and
• 43:19
  Speaker 1: you've got it blown up, don't make details that when
• 43:22
  Speaker 1: you put it back to normal scale, a tube that
• 43:26
  Speaker 1: should be 1-8 thick is actually the diameter of a
• 43:29
  Speaker 1: human hair. So when I go to make it, it's
• 43:31
  Speaker 1: not going to look good if I use a 1-8 tube.
• 43:33
  Speaker 1: So that's what I'm saying is that And then I
• 43:35
  Speaker 1: have to go back and forth trying to get it
• 43:37
  Speaker 1: re-approved and changed, and it's eating up my build time.
• 43:40
  Speaker 1: And that's the one thing that I like about Eric is, like,
• 43:43
  Speaker 1: it's just easier when you're working one-on-one with the concept
• 43:46
  Speaker 1: artist from the beginning, at least with the stuff that
• 43:47
  Speaker 1: I'm making, when it comes to, like, live-fire weapons and
• 43:51
  Speaker 1: things like that.
• 43:52
  Speaker 7: I think in normal productions, the art department is the
• 43:56
  Speaker 7: art department, the process department is the process, and they
• 43:58
  Speaker 7: don't interact.
• 43:59
  Speaker 1: And they should be communicating a little bit more, I feel.
• 44:02
  Speaker 5: Yeah.
• 44:02
  Speaker 1: And also the last minute communication is really hard because
• 44:05
  Speaker 1: if something gets signed off, I'm already fabricating. And then
• 44:08
  Speaker 1: someone else puts their hand in the cookie jar. Well,
• 44:10
  Speaker 1: we have to change this or we have to change that.
• 44:12
  Speaker 1: There's so much, but we don't have the money.
• 44:14
  Speaker 2: Yeah.
• 44:15
  Speaker 1: Okay. Are you asking me or is that a question
• 44:18
  Speaker 1: or is that just a rhetorical question?
• 44:20
  Speaker 5: I should stop what I'm doing now is what you're
• 44:22
  Speaker 5: telling me?
• 44:22
  Speaker 1: No, it's usually a rhetorical question that's basically followed by, yeah,
• 44:26
  Speaker 1: you're going to do it. You know?
• 44:29
  Speaker 7: Anyways.
• 44:30
  Speaker 5: Well, I mean, that is something I've been asking a
• 44:32
  Speaker 5: lot of people, especially this, this run here is kind
• 44:36
  Speaker 5: of where the work comes from too. So maybe not,
• 44:39
  Speaker 5: you were saying now you're getting hit with a lot
• 44:41
  Speaker 5: more stuff, but early on, like before you had all
• 44:45
  Speaker 5: the contacts, like how did the work find its way
• 44:47
  Speaker 5: to you? Or how did you track down the place
• 44:50
  Speaker 5: to be able to, to get work to do of,
• 44:52
  Speaker 5: of prop making?
• 44:53
  Speaker 1: Friend of a friend. Yeah. That's how it ends up.
• 44:56
  Speaker 1: Friend of a friend who, you know, and, working, doing
• 45:02
  Speaker 1: some projects with them. Now I never worked for a
• 45:04
  Speaker 1: prop shop per se, like a studio art technology or
• 45:08
  Speaker 1: independent studio service. It was a hand prop room or
• 45:11
  Speaker 1: none of them. I didn't work. I didn't get my
• 45:13
  Speaker 1: foot in the door that way. It was basically working
• 45:15
  Speaker 1: for a friend who was already in the industry and
• 45:18
  Speaker 1: needed some help. And I did that a few times
• 45:21
  Speaker 1: and that's how I basically got in as far as, um,
• 45:25
  Speaker 1: making the connections, um, Every time I worked on a project,
• 45:28
  Speaker 1: no matter how little it was, if I heard a
• 45:31
  Speaker 1: name in the background of somebody that I should be
• 45:35
  Speaker 1: communicating with, I always made a mental note of that person.
• 45:38
  Speaker 1: And later on, I started my checklist of who I'm
• 45:41
  Speaker 1: communicating with. So I took a very proactive approach of
• 45:45
  Speaker 1: making a checklist. And I do have that checklist to
• 45:48
  Speaker 1: this day. And then eventually you start getting emails. And
• 45:51
  Speaker 1: then from emails, eventually they're going to call you, make
• 45:54
  Speaker 1: note of that phone number. And then you... And then
• 45:56
  Speaker 1: you make your little connection. That's the way you get in. And,
• 45:59
  Speaker 1: you know, the other big obstacle is not being non-union.
• 46:04
  Speaker 11: Yeah.
• 46:04
  Speaker 1: You know, it's really tough because I'm not union. And
• 46:11
  Speaker 1: it's more difficult getting work. And I'm not looking for
• 46:17
  Speaker 1: all the work. There's plenty of work to go around.
• 46:20
  Speaker 1: It's just some companies want it all, you know.
• 46:24
  Speaker 5: Yeah.
• 46:26
  Speaker 1: And there's a lot of politics in there, but, um,
• 46:29
  Speaker 1: but yeah, and that's eventually, that's what it was, friend
• 46:32
  Speaker 1: of a friend, I think. Well, yours was a little
• 46:35
  Speaker 1: bit similar, but different.
• 46:37
  Speaker 8: Yeah, I mean, I would say it's a combination of
• 46:40
  Speaker 8: your abilities, and the people that you, and luck, I mean,
• 46:45
  Speaker 8: people who you run into in life.
• 46:48
  Speaker 1: Yeah, and we didn't, we didn't know each other, but
• 46:51
  Speaker 1: we worked on the Battlestar Galactica genre, you know, And
• 46:56
  Speaker 1: one day I came to Wonderfest just to– actually, we met.
• 47:00
  Speaker 1: I met my future wife here. I met you here.
• 47:05
  Speaker 7: Yeah. I didn't like you, but I met you.
• 47:09
  Speaker 1: So Wonderfest has been pretty cool.
• 47:11
  Speaker 7: I love it.
• 47:12
  Speaker 5: I keep telling people that when it's their first year,
• 47:15
  Speaker 5: I'm like, no, you'll see. It's different. It's not like
• 47:18
  Speaker 5: other conventions. It is its own weird, dysfunctional family. They
• 47:23
  Speaker 5: function that way. It really is different than any other
• 47:27
  Speaker 5: convention you'll go to. So many people will come back
• 47:30
  Speaker 5: and be like, yeah, that's no joke. It's its own
• 47:33
  Speaker 5: weird little world here at Wonderfest.
• 47:35
  Speaker 1: I went over to his table. I was here with
• 47:36
  Speaker 1: friends and I saw him and I recognized his name
• 47:42
  Speaker 1: and his work. I went right over to him and
• 47:45
  Speaker 1: I said, hey, I forget what the exact verbiage was
• 47:48
  Speaker 1: that we said, but uh, basically it was me going
• 47:51
  Speaker 1: up to him and say, yeah, you know, we got some,
• 47:54
  Speaker 1: something in common. And I don't think he was as
• 47:56
  Speaker 1: receptive as.
• 47:57
  Speaker 7: I, who the hell is this guy?
• 48:00
  Speaker 5: That's his response to most people.
• 48:02
  Speaker 7: Some psycho stalker.
• 48:04
  Speaker 4: Yeah.
• 48:04
  Speaker 7: I know your stuff. I followed you around. Yeah.
• 48:07
  Speaker 1: And he's humble. Cause he doesn't tell you. I don't
• 48:09
  Speaker 1: know if you're really, he's not really as open as,
• 48:12
  Speaker 1: doesn't give himself as the credit. I mean, you designed the, the,
• 48:17
  Speaker 1: you designed the, um, robots that destroyed us, you twat.
• 48:23
  Speaker 7: I'll take credit for destroying mankind.
• 48:25
  Speaker 5: We'll be the end of all of us.
• 48:27
  Speaker 1: Oh, here's another thing to tie in with some other stuff.
• 48:31
  Speaker 1: A lot of the old shows that we grew up with,
• 48:34
  Speaker 1: like Planet of the Apes and stuff, as I move
• 48:38
  Speaker 1: forward with my career, I keep my eyes open for
• 48:42
  Speaker 1: any reboots.
• 48:44
  Speaker 5: Which there continually are.
• 48:46
  Speaker 1: Like Battlestar, Planet of the Apes, And the thing I
• 48:50
  Speaker 1: like about Planet of the Apes is I got to
• 48:52
  Speaker 1: work on that, and I really wanted that show or
• 48:55
  Speaker 1: that film, Rise of the Planet of the Apes.
• 48:58
  Speaker 7: Yeah.
• 48:58
  Speaker 1: And they don't really tell in the Charlton Heston movies
• 49:03
  Speaker 1: what exactly happened, whether we nuclear war or whatever, how
• 49:06
  Speaker 1: the apes. But I got to kind of get involved
• 49:11
  Speaker 1: with the conceptualizing the serum canisters and actually– doing some
• 49:18
  Speaker 1: of the design work, but the actual fact of the
• 49:21
  Speaker 1: uh alz 113 which was responsible for the beginning of
• 49:26
  Speaker 1: the end making yeah making the apes intelligent and killing
• 49:29
  Speaker 1: the rest of us off so i take pride in
• 49:31
  Speaker 1: saying that i actually it comes full circle yeah i
• 49:35
  Speaker 1: was part of that whole story and uh Got to
• 49:38
  Speaker 1: work on Battlestar Galactica or Caprica Blood and Chrome. I
• 49:47
  Speaker 1: did weapons, colonial sidearms. I did some Cylon weapons.
• 49:52
  Speaker 7: Do you prefer just doing the weapons side of things?
• 49:55
  Speaker 1: Yeah, I like weapons and gadgets. Weapons are phasers or
• 50:00
  Speaker 1: plasma rifles.
• 50:02
  Speaker 5: Or one that's both. That's the one I remember. I
• 50:05
  Speaker 5: don't know which year that was, but it was right when,
• 50:07
  Speaker 5: I guess... star trek reboot or if it was into
• 50:10
  Speaker 5: darkness but when the the gun that is a gadget
• 50:13
  Speaker 5: because it spins around and it goes from from stun
• 50:16
  Speaker 5: to kill yeah and i'm like that one is amazing
• 50:18
  Speaker 5: because it's bold because it also does that cool maneuver
• 50:22
  Speaker 5: that like no other gun in the universe is gonna
• 50:24
  Speaker 5: do i.
• 50:25
  Speaker 1: Did the normian phasers too well i did the the
• 50:28
  Speaker 1: i i cadded and um made the masters for the
• 50:32
  Speaker 1: normian phasers because my buddy rick gammez he got that
• 50:36
  Speaker 1: part of the gig, and he was so busy, he
• 50:38
  Speaker 1: asked me if I could help him make the masters.
• 50:40
  Speaker 1: So I got the artwork from John Eves, who did,
• 50:44
  Speaker 1: he was a concept artist on there, and I catted
• 50:48
  Speaker 1: up the Norman phaser, made all the little inside parts
• 50:51
  Speaker 1: to move for the electronics and things, and made the
• 50:54
  Speaker 1: initial masters, and then I sent those off to Rick
• 50:57
  Speaker 1: so he could pull molds and make all the extras
• 50:59
  Speaker 1: and stuff for the film. Because I was already busy
• 51:01
  Speaker 1: doing the phasers. Yeah. And some other gadgets and stuff.
• 51:06
  Speaker 5: So, I mean, did they have that basic idea in
• 51:09
  Speaker 5: mind for like the phaser spinning around? Or did you
• 51:12
  Speaker 5: have to readjust everything?
• 51:14
  Speaker 1: Yeah, I had to readjust. And I'll tell you, I'll
• 51:17
  Speaker 1: try and keep it brief. So, I got the gig
• 51:21
  Speaker 1: through a friend of a friend. And I won't say
• 51:25
  Speaker 1: names because I don't know if they would have been mentioned.
• 51:26
  Speaker 1: But let's just say this person... had called me up
• 51:31
  Speaker 1: one day and we were talking, I was like, what
• 51:32
  Speaker 1: are you doing? Well, I'm trying to get on, trying
• 51:35
  Speaker 1: to get on into darkness. And he goes, well, you
• 51:38
  Speaker 1: know what? Um, who's the prop master? And I told
• 51:42
  Speaker 1: him and he goes, Oh, no way. You know, my,
• 51:45
  Speaker 1: my partner, uh, was a prop, was the director on
• 51:47
  Speaker 1: this film and he was a prop master for him
• 51:51
  Speaker 1: on this, this. So let me, uh, let me give
• 51:53
  Speaker 1: him a call and, and next thing you know, I'm
• 51:55
  Speaker 1: on into darkness. And, um, and, uh, so, uh, they
• 52:00
  Speaker 1: wanted phasers and the 2009 phase. I'm not a fan
• 52:04
  Speaker 1: of the Chrome phaser. I was never a fan of it.
• 52:06
  Speaker 1: I mean, it's cool, but it's not something like, I just,
• 52:09
  Speaker 1: they got the uniforms, right? They got the ships, right?
• 52:11
  Speaker 1: They got the acting, right? They picked the right cast.
• 52:14
  Speaker 1: Amazing cast.
• 52:15
  Speaker 5: It's one of those. I never thought they could make
• 52:17
  Speaker 5: that work to the level.
• 52:19
  Speaker 1: That they nailed it. It was surprising. Yeah, they nailed it. And, and,
• 52:24
  Speaker 1: but the phasers weren't, weren't there. And, um, so, um, I,
• 52:29
  Speaker 1: I decided that I was going to do this concept phaser.
• 52:33
  Speaker 1: So I, um, reached out to another friend, Ray lie.
• 52:36
  Speaker 1: And I said, listen, um, I want to, I want
• 52:39
  Speaker 1: really want on this. Now I'm not a concept artist.
• 52:41
  Speaker 1: So my, my, my vision always comes from ICAD. I
• 52:46
  Speaker 1: render the CAD and then I give that to the
• 52:48
  Speaker 1: prop master. This was different. I was actually going, they
• 52:52
  Speaker 1: gave me a shot to kind of reimagine the into
• 52:55
  Speaker 1: darkness phaser. So I call Ray lie up and, um,
• 52:59
  Speaker 1: I said, Ray, can you help me with this? Or
• 53:02
  Speaker 1: you want, cause he's a trick nut. And he asked me, well,
• 53:07
  Speaker 1: he said, yeah, I'll work with you. And I gave
• 53:09
  Speaker 1: him a checklist and I had a rough sketch and
• 53:11
  Speaker 1: I gave him a checklist of this, what I want it.
• 53:15
  Speaker 1: And I said, you know, can you, can you do
• 53:17
  Speaker 1: this for me? And he nailed it on the first try.
• 53:19
  Speaker 1: I mean, but I was, you know, OCD. I had
• 53:22
  Speaker 1: that checklist. It was like 20 something things long and
• 53:26
  Speaker 1: he nailed it. And then he said, can I, Can
• 53:29
  Speaker 1: I add some concepts to it? Sure. And I think
• 53:32
  Speaker 1: we came up with like, I don't know, 14 pieces
• 53:36
  Speaker 1: of art. So I built the concept phaser, had 70
• 53:41
  Speaker 1: something parts to it. This thing moved. It did all
• 53:45
  Speaker 1: this stuff. I still get fans to this day saying, man,
• 53:47
  Speaker 1: I really want one of those.
• 53:49
  Speaker 7: Yeah.
• 53:50
  Speaker 1: And we put that in front of JJ and he
• 53:54
  Speaker 1: liked it. He thought it was okay, but he wanted
• 53:57
  Speaker 1: the 2009 phaser. So I got Archive to send me
• 54:04
  Speaker 1: the two heroes they had from the first movie. And
• 54:07
  Speaker 1: they were nice, but they were spring-loaded. There were some
• 54:10
  Speaker 1: failures with them. And then the grip was like flat
• 54:13
  Speaker 1: aluminum cut out on a bandsaw. So I didn't have
• 54:18
  Speaker 1: CAD models or anything. So I basically CAD it from scratch.
• 54:21
  Speaker 1: I added my twist on it, redesigned the grip a
• 54:25
  Speaker 1: little bit, redesigned, put a lot of contours and things
• 54:28
  Speaker 1: in it. And then I said, you know what? I'm
• 54:30
  Speaker 1: going to make this thing animatronic. I'm going to put
• 54:32
  Speaker 1: servos in it. I'm going to put lights in it
• 54:34
  Speaker 1: because the one thing I listened to was them complaining
• 54:37
  Speaker 1: about the spring not working. So I figured if I
• 54:39
  Speaker 1: make it electronic, they can hit that button all day long,
• 54:42
  Speaker 1: stun kill, stun kill, stun kill, and never have to cut.
• 54:45
  Speaker 1: So I did a servo, did my old electronics, lighting,
• 54:48
  Speaker 1: and everything on this thing. They loved it. Sent them in,
• 54:54
  Speaker 1: and then they're filming, and then I get a phone call. Hey, Kenny,
• 54:58
  Speaker 1: the sound guys aren't happy with you. I'm like, what's that?
• 55:01
  Speaker 1: Because they get a lot of buzz from your servos.
• 55:04
  Speaker 1: And my first reaction was, okay? And with a question mark, okay?
• 55:10
  Speaker 1: How's that my problem? I got paid. But no, they
• 55:15
  Speaker 1: figured it out, and everyone was happy. And now you
• 55:19
  Speaker 1: go to, they were all at auction recently, and they
• 55:24
  Speaker 1: all went for like $ 10, 000 and $ 15, 000 for these phasers.
• 55:28
  Speaker 5: And where's your cut at? Well, that's, I mean, that
• 55:33
  Speaker 5: was one of those I was always really impressed with,
• 55:36
  Speaker 5: but I was going to let you pick some of
• 55:37
  Speaker 5: the other, like, I don't know, you always seem really
• 55:39
  Speaker 5: excited about the Deadpool stuff. Is that still one of
• 55:42
  Speaker 5: your favorites as far as just a project that you've
• 55:44
  Speaker 5: made stuff for?
• 55:46
  Speaker 1: Yeah, I think Deadpool at this point, there's two things. One, well,
• 55:50
  Speaker 1: there's a few, but let's just say having the ability
• 55:53
  Speaker 1: to kind of tweak the colonial sidearm and bring back the, um,
• 56:00
  Speaker 1: the original, like they had a pilot show gun, then
• 56:02
  Speaker 1: they had the, you know, then you have the season
• 56:04
  Speaker 1: one gun and then they went to the five, seven,
• 56:06
  Speaker 1: and then, then they were going to kind of go
• 56:09
  Speaker 1: with some, another direction. And I didn't want that. I
• 56:12
  Speaker 1: wanted us to bring back the original colonial sidearm. So, um,
• 56:16
  Speaker 1: that's what I did. And, um, it actually, um, I
• 56:20
  Speaker 1: had them done before they even gave it a green light.
• 56:24
  Speaker 1: And cause I figured I'm going to get this in
• 56:26
  Speaker 1: front of them first. Um, So basically holding a carrot
• 56:29
  Speaker 1: in front of them. I sent them up to Vancouver.
• 56:32
  Speaker 1: We had them mounted on the revolvers already in the
• 56:35
  Speaker 1: armor's hands. And Caprica, it didn't happen for Caprica. Because
• 56:43
  Speaker 1: they were built when Caprica was coming about.
• 56:46
  Speaker 5: Yeah.
• 56:46
  Speaker 1: Because they contacted me and said, do you like to
• 56:48
  Speaker 1: work on Caprica? There's going to be more shoot-em-ups than
• 56:51
  Speaker 1: Galactica ever had. Yeah, okay.
• 56:52
  Speaker 7: Okay.
• 56:54
  Speaker 1: Now, post-Caprica, explain that. So the guns got shelved, and
• 57:02
  Speaker 1: then we used them on Fringe. Brown Betty, I think
• 57:08
  Speaker 1: the episode was. So we used the guns on Brown Betty,
• 57:12
  Speaker 1: and then Blood and Chrome came. And I'm like, I
• 57:17
  Speaker 1: won't say where, or I won't confirm or deny, I
• 57:20
  Speaker 1: had the script. And I read it before anything was happening.
• 57:23
  Speaker 1: I'm like, oh, hell yeah. I want in on this.
• 57:27
  Speaker 1: And then ultimately those guns came back around and it
• 57:30
  Speaker 1: ended with my guns. The show basically ended with my guns. Deadpool.
• 57:37
  Speaker 1: It was really cool. I worked on the first movie.
• 57:40
  Speaker 1: They didn't really have a budget on the first movie.
• 57:43
  Speaker 5: Nobody had faith in it the first time around.
• 57:45
  Speaker 1: I didn't know who Deadpool was at all. I went
• 57:47
  Speaker 1: out and bought some comics and I start reading this
• 57:54
  Speaker 1: and I saw Deadpool in a tutu and I'm like
• 57:57
  Speaker 1: oh maybe I don't really want.
• 57:58
  Speaker 5: This Deadpool was just for Deadpool fans like it really
• 58:02
  Speaker 5: like it was until the movie like I just kind
• 58:06
  Speaker 5: of knew people that were into it and then everyone
• 58:08
  Speaker 5: else had no idea who he was like he was
• 58:10
  Speaker 5: just if you found that comic he was your guy
• 58:13
  Speaker 5: and if not you could care less the movie changed all.
• 58:16
  Speaker 1: That so I built some props on the first movie
• 58:21
  Speaker 1: since one of them being the adamantium shackles. And you
• 58:27
  Speaker 1: come by my booth, I'll show you the picture where
• 58:30
  Speaker 1: I finished building those on the dining room table of
• 58:33
  Speaker 1: my mom's place because I had to meet FedEx cutoff time.
• 58:41
  Speaker 1: My shop and the supply place where I need to
• 58:45
  Speaker 1: get some rubber And FedEx and my mom, the locations
• 58:49
  Speaker 1: of all those would not have been possible to go
• 58:51
  Speaker 1: back to my shop and finish. So I called my mom.
• 58:53
  Speaker 1: I said, hey, clear off that dining room table. I
• 58:56
  Speaker 1: finished Deadpool's shackles on my mom's dining room table. And
• 59:01
  Speaker 1: my brother's photographing and taking pictures. He thought it was funny.
• 59:03
  Speaker 1: So I started flipping them to the bird. And the
• 59:07
  Speaker 1: pictures were so funny, I uploaded them to the studio server.
• 59:10
  Speaker 1: and somewhere along the line it made it into the
• 59:13
  Speaker 1: film but then the second movie came about and Dan
• 59:18
  Speaker 1: Sissons I've worked with him on Underworld Awakening and a
• 59:24
  Speaker 1: couple other projects and I basically said to him It's
• 59:31
  Speaker 1: going to happen. I'm not asking. And it was Deadpool's swords,
• 59:36
  Speaker 1: his pistols, and Cable's rifle. And he gave them to me.
• 59:43
  Speaker 1: And then they didn't want the– I wanted to do 1911s,
• 59:46
  Speaker 1: and Ryan wanted the Desert Eagles. So I asked if
• 59:50
  Speaker 1: I can tweak them up with some of my finesse.
• 59:54
  Speaker 1: And they said, okay, and there you go.
• 59:58
  Speaker 11: Impressive.
• 59:59
  Speaker 5: Yeah, the cable rifle is pretty impressive too.
• 1:00:02
  Speaker 1: It's heavier than Eric.
• 1:00:03
  Speaker 5: Well, that's not saying much. So is there anything else
• 1:00:11
  Speaker 5: as far as, again, stuff that you're allowed to talk about?
• 1:00:14
  Speaker 5: I know with a lot of these things you get
• 1:00:16
  Speaker 5: to a point of what you can't go into, but
• 1:00:19
  Speaker 5: do you have stuff coming up that you want to
• 1:00:21
  Speaker 5: tell people about or stuff to look for?
• 1:00:24
  Speaker 1: Well, Alter Carbon, I fell in love with that show. um,
• 1:00:30
  Speaker 1: I got to work on that with, uh, an awesome
• 1:00:32
  Speaker 1: prop master by the name of Nevin Swain and, uh,
• 1:00:36
  Speaker 1: Don Matlow and Kevin, uh, um, oh man, he's going
• 1:00:41
  Speaker 1: to kill me. I don't want to, I don't want
• 1:00:42
  Speaker 1: to say his name, his last name, because it may sound,
• 1:00:45
  Speaker 1: it's like, oh my God. It's sorry, Kevin. Sorry. It's
• 1:00:50
  Speaker 1: like Cockwell or something. It's like, I'm sorry, Kevin. But,
• 1:00:54
  Speaker 1: but they're all, there's amazing, amazing fucking crew. And, um,
• 1:00:59
  Speaker 1: if the rest of my career is only working for
• 1:01:01
  Speaker 1: those guys, I am totally fine with that. And, um, but, uh, yeah,
• 1:01:07
  Speaker 1: so we did Altered Carbon, uh, season one and I
• 1:01:13
  Speaker 1: got to work, uh, there was only really two main
• 1:01:15
  Speaker 1: prop fabrication shops. There was mine and Weta and the show, amazing,
• 1:01:23
  Speaker 1: amazing set and, And, um, it was, it was great.
• 1:01:28
  Speaker 1: It was one of the best science fiction shows I've
• 1:01:30
  Speaker 1: worked on. And, um, so I needless to say, I
• 1:01:33
  Speaker 1: want it back on season two.
• 1:01:35
  Speaker 4: Yeah.
• 1:01:36
  Speaker 1: And, um, and, uh, I got to naturally on every show.
• 1:01:40
  Speaker 1: I'm like, I want the main character stuff. And I,
• 1:01:43
  Speaker 1: most of the time I get it. And, um, so
• 1:01:45
  Speaker 1: this time last season, I wanted all of Joel Kinnaman's
• 1:01:49
  Speaker 1: because I were, I built a lot of the stuff
• 1:01:51
  Speaker 1: on Robocop reboot. And, um, So I wanted Joel Kinnaman stuff,
• 1:01:57
  Speaker 1: and I got most of everything. And then season two
• 1:02:01
  Speaker 1: comes along, and they said, are you ready? I'm like, yeah,
• 1:02:04
  Speaker 1: I'm ready. So I said, who's the lead? They said, Joel,
• 1:02:08
  Speaker 1: come back. And they said, we got Anthony Mackie from
• 1:02:13
  Speaker 1: the Avengers, Falcon. And they said, he's now the main character,
• 1:02:19
  Speaker 1: the main actor. And I'm like, okay, I want his guns.
• 1:02:22
  Speaker 5: Obviously, I need these.
• 1:02:23
  Speaker 1: I want his guns. They gave them to me. They
• 1:02:25
  Speaker 1: gave me his stuff.
• 1:02:26
  Speaker 5: Do you think that's the difference is that you're stating
• 1:02:29
  Speaker 5: that is that you have taken the initiative to be like,
• 1:02:32
  Speaker 5: I'm going to do a good job because I'm telling
• 1:02:34
  Speaker 5: you I want that.
• 1:02:35
  Speaker 1: Well, the thing is, is that if they hire a
• 1:02:37
  Speaker 1: prop shop, the prop shop has a lot of people
• 1:02:41
  Speaker 1: all working on the project. I'm only me. It's only me.
• 1:02:47
  Speaker 1: And I'm very selective on what I pick out. I
• 1:02:51
  Speaker 1: get asked, well, can you build this? Can you build that?
• 1:02:53
  Speaker 1: And I turn a lot of stuff down. But I'm
• 1:02:55
  Speaker 1: very picky and selective on what I want as far
• 1:02:58
  Speaker 1: as key props. But with Alter Carbon, it's hard to
• 1:03:03
  Speaker 1: turn down anything because everything is so amazingly designed. So
• 1:03:10
  Speaker 1: I got to build Anthony's stuff. I can't tell you
• 1:03:14
  Speaker 1: what the stuff. is because i'm i still want to
• 1:03:17
  Speaker 1: work in the industry that's how the system works but
• 1:03:20
  Speaker 1: very very very cool stuff and um i can't wait
• 1:03:24
  Speaker 1: you know that's.
• 1:03:25
  Speaker 5: Awesome yeah this is another one we've kind of asked
• 1:03:28
  Speaker 5: are you okay when you get to a project that
• 1:03:31
  Speaker 5: you worked on and you love what you've done with
• 1:03:33
  Speaker 5: it but maybe by the end you're not thrilled with
• 1:03:36
  Speaker 5: the overall project like you're like wow i don't really
• 1:03:38
  Speaker 5: like this movie but My stuff looks great.
• 1:03:41
  Speaker 1: Yes, exactly. I got one right now. Death Note from Netflix.
• 1:03:47
  Speaker 5: I know of it. I've heard a lot of people
• 1:03:49
  Speaker 5: discuss it.
• 1:03:50
  Speaker 1: Three things about that show that I feel if I
• 1:03:58
  Speaker 1: walk the only three things you walk away with I
• 1:04:01
  Speaker 1: didn't know what Death Note was so I went and
• 1:04:04
  Speaker 1: started watching the anime and I got hooked on it
• 1:04:07
  Speaker 1: and binge watched it and the the, the characters, uh,
• 1:04:11
  Speaker 1: interaction between light and L and, and, um, uh, that, um,
• 1:04:20
  Speaker 1: challenging mind, uh, stuff going on. It's like chess, you know,
• 1:04:25
  Speaker 1: they're trying to outplay each other. I fell in love
• 1:04:28
  Speaker 1: with the, the story and I was, I wanted to
• 1:04:31
  Speaker 1: do it. Built L's gun, which were the gun L uses,
• 1:04:37
  Speaker 1: which is like, well, anime elves not using a gun.
• 1:04:41
  Speaker 1: And then, um, uh, I think the notebook, I didn't
• 1:04:45
  Speaker 1: do the notebook, but, um, that was done up, up in,
• 1:04:49
  Speaker 1: that was done up in Canada. And I think a
• 1:04:52
  Speaker 1: woman did that and she did the notebook. So I
• 1:04:55
  Speaker 1: would have to say that, um, uh, the notebook, the
• 1:05:00
  Speaker 1: gun and, um, William Defoe are the highlights of that movie.
• 1:05:07
  Speaker 5: Yeah you fabricated william somebody did i mean he's not human.
• 1:05:12
  Speaker 1: They did a great job on his uh rendering him
• 1:05:16
  Speaker 1: into this uh i forget what they call them but.
• 1:05:19
  Speaker 5: Uh he's he's an amazing actor but i'm not sure
• 1:05:22
  Speaker 5: he's human so.
• 1:05:23
  Speaker 1: But the show the film had no real wits going
• 1:05:28
  Speaker 1: on between those two main characters nothing it was it
• 1:05:31
  Speaker 1: was like they made light this regular person with no
• 1:05:34
  Speaker 1: intelligence and the book just fell into his hands. Whereas
• 1:05:38
  Speaker 1: in the anime, he's a smart individual, very intelligent.
• 1:05:42
  Speaker 5: That makes a difference. And yeah, I discussed that a
• 1:05:45
  Speaker 5: lot lately on things that I'm like, it's bad character development.
• 1:05:48
  Speaker 5: That is usually the biggest downfall. It's just either overall
• 1:05:51
  Speaker 5: story or just no character development that just makes stuff
• 1:05:55
  Speaker 5: fall apart. And like, you can't be attached to these
• 1:05:57
  Speaker 5: characters if they're not smart enough to even give your
• 1:06:00
  Speaker 5: attention to like a It takes away from what I
• 1:06:03
  Speaker 5: think your overall project is. But, yep, if that's anything
• 1:06:08
  Speaker 5: else you want to pass along as far as projects.
• 1:06:11
  Speaker 5: Eric says he's not doing anything anymore. That's what he
• 1:06:13
  Speaker 5: told me earlier.
• 1:06:15
  Speaker 1: Eric's beat. He looks beat.
• 1:06:16
  Speaker 5: He's ready for it.
• 1:06:17
  Speaker 1: He looks tired. I forced him here because I don't get.
• 1:06:21
  Speaker 5: I forced him every year. It's become the game.
• 1:06:23
  Speaker 7: It's the end of Wonderfest.
• 1:06:25
  Speaker 10: And, you know, you're like up. You know, like adrenaline's
• 1:06:29
  Speaker 10: been up all weekend. And now we're sitting down. And
• 1:06:32
  Speaker 10: I'm listening to you drone on and.
• 1:06:35
  Speaker 1: On and on and on. You ask the question. It's
• 1:06:37
  Speaker 1: not a yes or no.
• 1:06:39
  Speaker 5: That's become the game, though. It's just how many times
• 1:06:42
  Speaker 5: can we make Eric come sit here even though he
• 1:06:44
  Speaker 5: doesn't want to. It's kind of fun for me. I
• 1:06:46
  Speaker 5: don't know that anyone else wants to hear him.
• 1:06:48
  Speaker 1: We talk all the time. He's up in Vancouver and
• 1:06:51
  Speaker 1: I'm in Pennsylvania, but we don't get to see each
• 1:06:54
  Speaker 1: other that much. I think Wonderfest is really.
• 1:06:57
  Speaker 7: Yeah, that's about the.
• 1:06:59
  Speaker 1: We work together on some projects, but We don't get
• 1:07:01
  Speaker 1: to see each other that much.
• 1:07:03
  Speaker 5: That's why Wonderfest is a magical weekend. You should all
• 1:07:07
  Speaker 5: get yourself out here.
• 1:07:08
  Speaker 1: But I don't know why he isn't talking about Firestorm
• 1:07:10
  Speaker 1: because that... Because there's.
• 1:07:12
  Speaker 7: Nothing to say yet.
• 1:07:14
  Speaker 1: That we should say or.
• 1:07:16
  Speaker 7: There's nothing we can say yet.
• 1:07:17
  Speaker 1: Okay, well, I'm excited.
• 1:07:21
  Speaker 10: There's... Things are in talks and I'll just leave it
• 1:07:26
  Speaker 10: at that. It's looking very positive. For those of you
• 1:07:32
  Speaker 10: who don't know, Firestorm is the latest project that Jerry
• 1:07:37
  Speaker 10: Anderson's son, Jamie, is trying to get produced as a
• 1:07:43
  Speaker 10: TV series. It's along the same lines as Thunderbirds. And
• 1:07:51
  Speaker 10: if you have ever listened to me drone on about
• 1:07:54
  Speaker 10: it before, you know that.
• 1:07:56
  Speaker 7: It's... It's not CG. It's all puppets and models and explosions.
• 1:08:01
  Speaker 5: It's the passion for puppets is what.
• 1:08:03
  Speaker 12: We've all learned.
• 1:08:04
  Speaker 7: Well, I mean, I think we need more of it.
• 1:08:08
  Speaker 5: I agree. As we've said years past.
• 1:08:10
  Speaker 7: CG has kind of gotten to the point where it
• 1:08:12
  Speaker 7: all kind of looks the same now. And I think
• 1:08:18
  Speaker 7: we're not the only ones who, if you've seen the
• 1:08:20
  Speaker 7: latest trailer for the Dark Crystal series, yeah that's amazing.
• 1:08:26
  Speaker 5: Yeah just this weekend i've watched it and i like
• 1:08:29
  Speaker 5: the whole i was a big fan of the dark
• 1:08:31
  Speaker 5: crystal growing up so yeah i'm like at this point
• 1:08:35
  Speaker 5: most people just want to get bent out of shape
• 1:08:36
  Speaker 5: anytime they try to reboot or do a backstory or
• 1:08:39
  Speaker 5: prequel and i'm just like as long as you do
• 1:08:41
  Speaker 5: it right and you're bringing in the hints and guys
• 1:08:43
  Speaker 5: like who cares just like do a good job on
• 1:08:46
  Speaker 5: it and there's no reason to be bent out of
• 1:08:48
  Speaker 5: shape it's just more great stuff for you so I'm
• 1:08:50
  Speaker 5: hoping that works out and whatever Eric's working on. Well,
• 1:08:54
  Speaker 5: this is just a tease so you can come back
• 1:08:56
  Speaker 5: on next time. This is all part of his game.
• 1:08:58
  Speaker 10: Hopefully, by the time I come on next year, we'll
• 1:09:01
  Speaker 10: be well into production, but you.
• 1:09:04
  Speaker 1: Want to see that support right there. That's frigging support, man.
• 1:09:10
  Speaker 1: He's wearing my t-shirt.
• 1:09:10
  Speaker 5: He's wearing your shirt.
• 1:09:12
  Speaker 1: Show him the back. This is great.
• 1:09:14
  Speaker 7: Oh, modeling.
• 1:09:14
  Speaker 1: This is my slogan.
• 1:09:17
  Speaker 5: It's a really good looking shirt.
• 1:09:19
  Speaker 1: Making the shit that makes everyone else look good.
• 1:09:22
  Speaker 5: I think, are those for sale online? Because that's what
• 1:09:25
  Speaker 5: you need to start selling those. That's a nice shirt.
• 1:09:27
  Speaker 1: I ran out of them.
• 1:09:30
  Speaker 7: All right.
• 1:09:30
  Speaker 5: Well, I think that's good. So we can, unless you
• 1:09:33
  Speaker 5: have more stuff to promote, I think we're good.
• 1:09:35
  Speaker 7: Nope.
• 1:09:36
  Speaker 5: All right. Well, thanks for sitting down, man.
• 1:09:38
  Speaker 7: Thank you. Nope.
• 1:09:39
  Speaker 1: Nope.
• 1:09:40
  Speaker 8: Nope.
• 1:09:41
  Speaker 7: All right.
• 1:09:42
  Speaker 5: Otherwise, that about does it. We will return next time,
• 1:09:44
  Speaker 5: same geek feed.
• 1:09:45
  Speaker 3: Thanks for listening.
• 1:09:47
  Speaker 9: Bro, bro, bro, suckers wanna flow, but they got no show.
• 1:09:51
  Speaker 9: So I'ma grab the mic.
• 1:09:52
  Speaker 1: Flip a strip, believe it's done.
• 1:09:53
  Speaker 9: Ball shot's the one that gets the job done. Mic check,
• 1:09:56
  Speaker 9: I get paid to wreck the set. Get ready and check,
• 1:09:59
  Speaker 9: cause I'ma threat to your fret.
• 1:10:01
  Speaker 2: No host bar, incomplete move fakers.
• 1:10:03
  Speaker 9: That's the way to back.
• 1:10:04
  Speaker 13: A lot of girls, I might take her.
• 1:10:06
  Speaker 9: If she's a trap, I'ma diss her, then slide. If
• 1:10:08
  Speaker 9: she try to rip, I got my Smith on my side.
• 1:10:10
  Speaker 5: Word to God, here I come.
• 1:10:11
  Speaker 9: To make way.
• 1:10:12
  Speaker 5: Rock it and rock, killing your.
• 1:10:13
  Speaker 13: Set every day.
• 1:10:14
  Speaker 2: Microphone check, one, So here we go.
• 1:10:17
  Speaker 9: And I'm going to let you know who got the flow.
• 1:10:19
  Speaker 9: Splitting my words like an automatic weapon.
• 1:10:22
  Speaker 7: Suckers keep stepping because I'm.
• 1:10:23
  Speaker 13: Going to let you know.
• 1:10:44
  Speaker 7: One Mississippi, two Mississippi.
• 1:10:46
  Speaker 9: Sucka tried to ditch me, so I paid them like
• 1:10:48
  Speaker 9: a hippie from the 60s, but I'ma get paid from
• 1:10:50
  Speaker 9: the 90s.
• 1:10:51
  Speaker 5: Like to play your little rascal, I'll fight, stymie, kick
• 1:10:53
  Speaker 5: your flavor.
• 1:10:54
  Speaker 9: With my lifesaver techniques, guaranteed to move weeks, and I'll.
• 1:10:57
  Speaker 5: Go on for weeks.
• 1:10:58
  Speaker 9: Maybe years, if my peers give me ears to fill,
• 1:11:00
  Speaker 9: they go for shot and act ill, bro.
• 1:11:02
  Speaker 13: We'll be right back.
• 1:11:42
  Speaker 9: Like Arnold Schwarzenegger Buckshot quick to play your nigga Like
• 1:11:45
  Speaker 9: Sega smooth trigger happy snappy Keep my head nappy When
• 1:11:48
  Speaker 9: I swing a F girls call me Big Pappy I
• 1:11:51
  Speaker 9: used to play your game cool Ring around the rosie
• 1:11:53
  Speaker 9: But now I play the mic That's why the whole
• 1:11:55
  Speaker 9: world knows me I'm sorta like a Sheffy heavy When
• 1:11:57
  Speaker 9: I bump bust You better bring your whole damn crew
• 1:11:59
  Speaker 9: Or get your head cut sucker Cause I'ma set it off.
• 1:12:02
  Speaker 1: With one shot.
• 1:12:03
  Speaker 9: One trigger, one nigga, love heads drop. Don't even try
• 1:12:06
  Speaker 9: to play me out for static.
• 1:12:07
  Speaker 5: Bark shots, shorty means sounds like an automatic.
• 1:12:10
  Speaker 9: Rip reset, my friends mad tight. Cause I rocks the
• 1:12:13
  Speaker 9: mic and keeps the crowd hype. Straight from Bum Rush,
• 1:12:16
  Speaker 9: my crushing cause chaos, yo.
• 1:12:17
  Speaker 2: And I'ma let you know.
• 1:12:38
  Speaker 9: One, two, melodies chosen. Before I flip a script, you
• 1:12:42
  Speaker 9: know I must keep you dozing. Into the stage of
• 1:12:44
  Speaker 9: the buckshot shorty. Sounding past the boom, keep it top
• 1:12:48
  Speaker 9: on the 40. Never, ever, ever get played.
• 1:12:50
  Speaker 1: Kill that.
• 1:12:51
  Speaker 9: What's a madcap in your back? Cause I'm all out
• 1:12:53
  Speaker 9: straight from Brooklyn. Better known as Brooklyn, ain't Luther Hooker,
• 1:12:56
  Speaker 9: your own beats took it Must take charge, ball guard,
• 1:12:59
  Speaker 9: I'm the man Bust my plan and feeds back on
• 1:13:02
  Speaker 9: my fan Must I cruise, pay dues, I never lose when.
• 1:13:05
  Speaker 13: I bike on fools Wake up, you.
• 1:13:06
  Speaker 9: Know it's news, bust the move, I get smooth like
• 1:13:09
  Speaker 9: Rody Kick it like the four horse, man, yeah, you
• 1:13:11
  Speaker 9: know me Boomer like a speaker with my hundred dollar
• 1:13:14
  Speaker 9: sneakers Baggy black jeans, knapsack in my beeper Keep a
• 1:13:17
  Speaker 9: fresh cut, never see me with a busted throat And
• 1:13:20
  Speaker 9: I'ma let you know.
• 1:13:41
  Speaker 13: So, you know, me having a five-year-old now and trying
• 1:13:43
  Speaker 13: to instill this.
• 1:13:44
  Speaker 5: Idea that, you know, if you.
• 1:13:45
  Speaker 13: Really want something and you work hard at it and
• 1:13:48
  Speaker 13: keep going at.
• 1:13:50
  Speaker 7: It, you know, you can make it I'm not giving
• 1:14:11
  Speaker 7: him any pressure to find something that he doesn't want
• 1:14:16
  Speaker 7: to do just because it pays well or because it's
• 1:14:19
  Speaker 7: stable or whatever you know.
• 1:14:24
  Speaker 10: So I think he's I'm hoping and I think he's
• 1:14:30
  Speaker 10: heading down that path because I'm seeing the creative gears
• 1:14:35
  Speaker 10: developing and moving and it's gratifying If I've achieved nothing else,
• 1:14:41
  Speaker 10: that's the thing I'm most proud of.
• 1:14:46
  Speaker 5: I mean, that's the idea behind raising children, is to
• 1:14:50
  Speaker 5: actually instill something.
• 1:14:51
  Speaker 3: Useful in them.
• 1:14:52
  Speaker 7: There are people that shouldn't have children.
• 1:14:53
  Speaker 5: Oh, there's a lot of people that shouldn't have children.
• 1:14:57
  Speaker 7: And they don't know how to....
• 1:15:01
  Speaker 10: Okay, I think one of the main problems nowadays is
• 1:15:05
  Speaker 10: that parents don't have the time to spend with their children.
• 1:15:09
  Speaker 5: Or don't bother to make the time. Even if, I
• 1:15:14
  Speaker 5: don't know. I mean, again, it depends on if it's
• 1:15:16
  Speaker 5: a work thing or if it's just they've busied themselves
• 1:15:19
  Speaker 5: with so many activities. Because that's also what kids have now, too.
• 1:15:24
  Speaker 5: They have an itinerary. My nephew has way more stuff
• 1:15:29
  Speaker 5: scheduled throughout his week than I've ever had in my life.
• 1:15:32
  Speaker 5: And he's like six.
• 1:15:33
  Speaker 7: Yes, but if you give them a choice as to whether...
• 1:15:36
  Speaker 7: Do you want to do.
• 1:15:38
  Speaker 10: Soccer practice or do you want to learn archery or
• 1:15:40
  Speaker 10: do you want to spend time with dad or mom?
• 1:15:44
  Speaker 5: But sometimes forcing them to do those things makes them
• 1:15:48
  Speaker 5: dislike it. Because so many of them, as soon as
• 1:15:50
  Speaker 5: it gets to the point of just to the point
• 1:15:52
  Speaker 5: where they're old enough to decide if they want to
• 1:15:54
  Speaker 5: do it anymore, they drop most of these activities because
• 1:15:57
  Speaker 5: they were forced to do them anyway. And then it
• 1:15:59
  Speaker 5: just seems like a chore, not something they were actually
• 1:16:01
  Speaker 5: passionate about.
• 1:16:02
  Speaker 10: Yeah, I don't force my son to go into anything.
• 1:16:07
  Speaker 10: My approach is, would you like to try it?
• 1:16:10
  Speaker 5: Yeah, that's a different story.
• 1:16:12
  Speaker 7: If you want to try it, I'll let you try it.
• 1:16:15
  Speaker 7: And there's no harm in trying it. Don't be afraid
• 1:16:17
  Speaker 7: of trying something new. If you don't like it, no
• 1:16:19
  Speaker 7: big deal.
• 1:16:21
  Speaker 5: That makes a difference.
• 1:16:22
  Speaker 7: If you don't like it, it's not for everybody. And
• 1:16:26
  Speaker 7: I take that same approach with food. Try everything. If
• 1:16:29
  Speaker 7: you don't like it, that's no big deal. You don't
• 1:16:32
  Speaker 7: have to like it, but at least give it a shot.
• 1:16:35
  Speaker 5: So what you're saying is you're going to mix up
• 1:16:37
  Speaker 5: some macaroni and cheese and applesauce and get some ketchup
• 1:16:39
  Speaker 5: in there. You're saying you're supposed to try everything.
• 1:16:43
  Speaker 7: Yeah, well, no. I see.
• 1:16:47
  Speaker 5: None of this means anything then.
• 1:16:52
  Speaker 7: That's disgusting. I can't help it, man.
• 1:16:56
  Speaker 1: You either eat or you don't eat. And that's what
• 1:16:59
  Speaker 1: was put in front of me, and I, you know,
• 1:17:02
  Speaker 1: if you're hungry, you'll eat anything.
• 1:17:04
  Speaker 3: This episode is a production of Movie Meltdown, produced and
• 1:17:07
  Speaker 3: edited by The Oddity Studios, with opening music performed by
• 1:17:10
  Speaker 3: The Empires. For more on how to sponsor or support
• 1:17:13
  Speaker 3: the show, email producer at moviemeltdown.com.
• 1:17:16
  Speaker 4: Talk hard!
• 1:17:23
  Speaker 5: This program is a proud member of the Battleship Pretension Fleet.