1 00:00:03,920 --> 00:00:06,080 Speaker 1: Hey, everybody, welcome to Car Stories. 2 00:00:06,320 --> 00:00:08,360 Speaker 2: This is some King and Amelia Hartford. 3 00:00:08,520 --> 00:00:10,440 Speaker 1: Joining us today is Peter Brown. 4 00:00:10,680 --> 00:00:12,840 Speaker 2: He has been the supervising sound editor for the Fast 5 00:00:12,840 --> 00:00:14,840 Speaker 2: and Furious franchise. It's Tokyo Drift. 6 00:00:14,920 --> 00:00:16,919 Speaker 1: Yeah, I mean a big part of why we love 7 00:00:17,160 --> 00:00:19,239 Speaker 1: cars is the way it sounds. It's the voice of 8 00:00:19,280 --> 00:00:21,880 Speaker 1: the car. Yeah, it's the voice of the character. 9 00:00:22,000 --> 00:00:25,159 Speaker 2: Peter himself is going out there recording the cars on 10 00:00:25,239 --> 00:00:28,160 Speaker 2: a Dino on the street, getting microphones all over from 11 00:00:28,200 --> 00:00:30,040 Speaker 2: the engine bay and the cab to the exhaust. Like 12 00:00:30,280 --> 00:00:32,839 Speaker 2: we get in some crazy detailed conversation about what that 13 00:00:32,880 --> 00:00:37,720 Speaker 2: process looks like in his hunt for very specific sounding cars, and. 14 00:00:37,640 --> 00:00:39,920 Speaker 1: A lot of you know, car guys will not let 15 00:00:39,960 --> 00:00:42,680 Speaker 1: a Hollywood production come and use their car. They will 16 00:00:42,760 --> 00:00:44,960 Speaker 1: let Peter, you know. And this passion is infectious. 17 00:00:44,960 --> 00:00:47,720 Speaker 2: It's really cool to see someone who wasn't necessarily into 18 00:00:47,800 --> 00:00:51,600 Speaker 2: cars before joining Tokyo Drift in the Fast and Furious 19 00:00:51,600 --> 00:00:56,480 Speaker 2: franchise to what they've grown to love. Because everyone who 20 00:00:56,480 --> 00:01:00,400 Speaker 2: gets into cars finds their lane upon intent, so it's 21 00:01:00,440 --> 00:01:02,720 Speaker 2: really cool to hear what he was so. 22 00:01:02,760 --> 00:01:06,560 Speaker 1: Passionate about, speaking of following your lane. I love Peter's 23 00:01:06,560 --> 00:01:10,760 Speaker 1: ethos about knowing yourself and what you believe in and 24 00:01:10,760 --> 00:01:13,679 Speaker 1: what your passion is and not worry about other people. 25 00:01:13,880 --> 00:01:16,319 Speaker 1: And it's almost so simple and he applies it to 26 00:01:17,319 --> 00:01:20,440 Speaker 1: his sound work. And without further ado. 27 00:01:20,400 --> 00:01:22,559 Speaker 2: We'd love to introduce to you Peter Brown. 28 00:01:25,920 --> 00:01:29,200 Speaker 1: So we're here with Peter Brown Sound. What would your 29 00:01:29,240 --> 00:01:30,000 Speaker 1: title be? Peter? 30 00:01:30,520 --> 00:01:33,479 Speaker 3: I usually introduce myself as a sound guy, but I'm 31 00:01:33,480 --> 00:01:36,880 Speaker 3: a supervising sound editor, so I work with a team 32 00:01:36,880 --> 00:01:40,960 Speaker 3: of folks to put the sound into motion pictures and 33 00:01:41,760 --> 00:01:44,520 Speaker 3: we have to do every sound that you hear except 34 00:01:44,520 --> 00:01:48,440 Speaker 3: for the music, so the dialogue, the sound effects, the 35 00:01:48,520 --> 00:01:52,640 Speaker 3: folly if you've heard of that, which is where individual 36 00:01:52,760 --> 00:01:55,920 Speaker 3: sounds are reproduced in a studio for the film, and 37 00:01:56,600 --> 00:02:02,000 Speaker 3: sound design explosions, horse whinnies, creatures sounds, horse. 38 00:02:01,760 --> 00:02:06,680 Speaker 1: Weenies, whinnies, whennies and footsteps and horses weenies had sound, 39 00:02:06,840 --> 00:02:12,359 Speaker 1: was like, that's a different kind of film. So when 40 00:02:12,360 --> 00:02:16,000 Speaker 1: you say sound design, you actually make some of the sounds, 41 00:02:16,200 --> 00:02:17,760 Speaker 1: like you create it from scratch. 42 00:02:18,040 --> 00:02:21,239 Speaker 3: Well sounds sounds are invisible, so they're kind of hard 43 00:02:21,280 --> 00:02:27,080 Speaker 3: to quantify, but they usually come organically through a microphone, 44 00:02:27,280 --> 00:02:31,440 Speaker 3: like we're making sounds here, and then through the glory 45 00:02:31,480 --> 00:02:35,919 Speaker 3: of machines and technology, you can manipulate those sounds, make 46 00:02:35,960 --> 00:02:39,760 Speaker 3: them go backwards, speed them up, slow them down, combine 47 00:02:39,800 --> 00:02:44,160 Speaker 3: them with other sounds. And sound design is a somewhat 48 00:02:44,240 --> 00:02:48,600 Speaker 3: new term, but it encompasses all of that, and it 49 00:02:48,600 --> 00:02:52,640 Speaker 3: could be everything from making the doth rocky language in 50 00:02:52,760 --> 00:02:58,079 Speaker 3: Game of Thrones to making the sounds of the undersea 51 00:02:58,160 --> 00:03:01,519 Speaker 3: world of Atlantis, things that have never been heard before. 52 00:03:02,040 --> 00:03:05,160 Speaker 3: But are you made of things that have been recorded 53 00:03:05,200 --> 00:03:08,919 Speaker 3: before or things that are synthesized completely from scratch in 54 00:03:08,960 --> 00:03:09,440 Speaker 3: a computer. 55 00:03:10,360 --> 00:03:12,320 Speaker 2: Have you always been into sound growing up? 56 00:03:12,760 --> 00:03:15,960 Speaker 3: Yeah, I listened to a lot of radio when I 57 00:03:16,000 --> 00:03:18,760 Speaker 3: was a kid. I think that was the I'm not 58 00:03:18,840 --> 00:03:21,880 Speaker 3: old enough to have just had radio as entertainment, so 59 00:03:21,960 --> 00:03:25,280 Speaker 3: I definitely watched my television as well. I do recall 60 00:03:25,320 --> 00:03:27,880 Speaker 3: a number of things, you know, that were only available. 61 00:03:27,880 --> 00:03:31,400 Speaker 3: I'm from western New York, so it was not in 62 00:03:31,440 --> 00:03:34,720 Speaker 3: any of the big cities, and there were things that 63 00:03:34,720 --> 00:03:37,240 Speaker 3: would come on the radio that were just kind of 64 00:03:37,240 --> 00:03:40,400 Speaker 3: amazing to me, like Doctor Demento. I don't know if 65 00:03:40,720 --> 00:03:42,720 Speaker 3: that hits your generation at all, but it was a 66 00:03:42,760 --> 00:03:46,040 Speaker 3: weird radio show that this guy had out on the 67 00:03:46,080 --> 00:03:49,920 Speaker 3: West Coast and covered all different genres of music and 68 00:03:50,160 --> 00:03:53,360 Speaker 3: novelty songs, but also told a lot of history of sound. 69 00:03:54,240 --> 00:03:57,840 Speaker 3: And then the BBC did a series based on Douglas 70 00:03:57,840 --> 00:04:00,360 Speaker 3: Adams books called The Hitchhiker's Guide to the Galaxy. Yeah, 71 00:04:00,800 --> 00:04:03,120 Speaker 3: it's had television shows, it's had movies, but for me, 72 00:04:03,320 --> 00:04:09,200 Speaker 3: nothing compares to what the BBC Radiophonic Studio did. Their 73 00:04:09,320 --> 00:04:12,520 Speaker 3: sound effects and the stuff they created there was fantastic. 74 00:04:12,600 --> 00:04:15,480 Speaker 3: So you know, I spent a lot of a lot 75 00:04:15,480 --> 00:04:19,200 Speaker 3: of time listening to weird things. It wasn't my main focus, 76 00:04:20,640 --> 00:04:22,359 Speaker 3: but yeah, I think I've always been into sound. 77 00:04:22,520 --> 00:04:25,160 Speaker 2: That's so interesting because when I was younger, like the 78 00:04:25,200 --> 00:04:26,640 Speaker 2: acting is what stood out to me, And I'm sure 79 00:04:26,640 --> 00:04:28,960 Speaker 2: there's different things that stand out to different people, but 80 00:04:29,080 --> 00:04:30,880 Speaker 2: for you being the sound, was there a certain point 81 00:04:30,880 --> 00:04:33,880 Speaker 2: where you're like, this is what I am passionate about 82 00:04:33,920 --> 00:04:34,839 Speaker 2: pursuing and doing. 83 00:04:35,000 --> 00:04:37,440 Speaker 3: I would say that that didn't come into my life 84 00:04:37,520 --> 00:04:40,880 Speaker 3: until probably my early twenties, when I was in grad school. 85 00:04:41,680 --> 00:04:45,840 Speaker 3: I'm from Rochester, New York, the land of eastman Kodak, 86 00:04:46,120 --> 00:04:50,040 Speaker 3: where my dad was an electrochemist and so he had 87 00:04:50,040 --> 00:04:54,640 Speaker 3: the rare privilege to be able to bring home expired 88 00:04:54,680 --> 00:04:57,960 Speaker 3: Super eight film. So I basically, as a kid, had 89 00:04:57,960 --> 00:05:03,960 Speaker 3: this rare opportunity to have free motion picture film and processing, 90 00:05:04,680 --> 00:05:08,240 Speaker 3: which was sound free, by the way. But I developed 91 00:05:08,240 --> 00:05:11,359 Speaker 3: a passion for that, just shooting little films with my 92 00:05:11,480 --> 00:05:15,240 Speaker 3: friends and cutting them together and learning how to work 93 00:05:15,240 --> 00:05:18,279 Speaker 3: with film. So I knew before I went to college 94 00:05:18,320 --> 00:05:21,960 Speaker 3: that I wanted to go into filmmaking. I love that, 95 00:05:22,080 --> 00:05:24,960 Speaker 3: and I went to undergrad at a nice liberal arts school, 96 00:05:25,320 --> 00:05:28,320 Speaker 3: where I found a wife and learned excellent cocktail conversation 97 00:05:28,400 --> 00:05:32,080 Speaker 3: and had generally a fantastic time. But I knew that 98 00:05:32,240 --> 00:05:34,800 Speaker 3: I wanted to go out and do a trade. I 99 00:05:34,800 --> 00:05:37,800 Speaker 3: wanted to learn something concrete and specific. So I went 100 00:05:37,839 --> 00:05:40,400 Speaker 3: to grad school, came out here to the West Coast, 101 00:05:41,200 --> 00:05:43,440 Speaker 3: and I had the dream. I think that a lot 102 00:05:43,480 --> 00:05:44,880 Speaker 3: of the other people who went there, we wanted to 103 00:05:44,880 --> 00:05:48,400 Speaker 3: be the next John Singleton or Steven Spielberg or George 104 00:05:48,440 --> 00:05:52,480 Speaker 3: Lucas wanted to be a writer, director, auteur kind of filmmaker. 105 00:05:52,760 --> 00:05:56,000 Speaker 3: And at USC you get to do a little bit 106 00:05:56,040 --> 00:05:59,280 Speaker 3: of everything. You know, whatever you want to do. It's 107 00:05:59,320 --> 00:06:01,280 Speaker 3: going to be very long answer to a simple question 108 00:06:02,000 --> 00:06:03,000 Speaker 3: I've had it very interesting. 109 00:06:03,120 --> 00:06:03,320 Speaker 1: Yeah. 110 00:06:03,720 --> 00:06:07,560 Speaker 3: So I learned pretty early on that if you wanted 111 00:06:07,560 --> 00:06:11,240 Speaker 3: to make it in Hollywood, if you wanted to write 112 00:06:11,279 --> 00:06:14,000 Speaker 3: your own destiny, it seemed like the very best thing 113 00:06:14,040 --> 00:06:17,240 Speaker 3: to do was to be a writer, because that way 114 00:06:17,360 --> 00:06:20,720 Speaker 3: you could generate things out of thin air, you could 115 00:06:20,720 --> 00:06:24,200 Speaker 3: control the destiny, and if you were really persistent and 116 00:06:24,240 --> 00:06:27,240 Speaker 3: super successful, you could eventually kick the door in and 117 00:06:27,279 --> 00:06:32,320 Speaker 3: become a director. And I found out really early that 118 00:06:32,960 --> 00:06:38,039 Speaker 3: writing is pretty painful for me, and I think, you know, 119 00:06:38,120 --> 00:06:41,799 Speaker 3: to be successful in life, you have to be very 120 00:06:41,880 --> 00:06:43,800 Speaker 3: you have to have your ears and your eyes open 121 00:06:43,920 --> 00:06:46,559 Speaker 3: to you know, the most important thing in your world. 122 00:06:46,720 --> 00:06:50,000 Speaker 3: You You've got to know who you are and what 123 00:06:50,160 --> 00:06:53,200 Speaker 3: you're good at. If you know what your impressions are 124 00:06:53,200 --> 00:06:55,840 Speaker 3: when you're young, don't always match up with your with 125 00:06:55,880 --> 00:07:01,640 Speaker 3: your propensities or your interests. And so I that I, 126 00:07:01,680 --> 00:07:04,120 Speaker 3: you know, I wasn't going to be a writer. I 127 00:07:04,200 --> 00:07:07,480 Speaker 3: did direct the documentary about one of my passions, which 128 00:07:07,520 --> 00:07:10,640 Speaker 3: is free solo rock climbing, but that was a you know, 129 00:07:10,680 --> 00:07:13,360 Speaker 3: that was a great process and the film did really well. 130 00:07:13,440 --> 00:07:18,760 Speaker 3: I did cinematography on another documentary I did. But anyway, 131 00:07:19,040 --> 00:07:22,920 Speaker 3: you know, I wore all those hats, and when I 132 00:07:23,000 --> 00:07:25,720 Speaker 3: was just in my second year in school, there was 133 00:07:25,760 --> 00:07:29,360 Speaker 3: an opportunity just for sound people they couldn't and this 134 00:07:29,400 --> 00:07:31,920 Speaker 3: will be a theme in probably anybody who's ever made 135 00:07:31,920 --> 00:07:34,520 Speaker 3: an independent film. You can find somebody to do everything, 136 00:07:34,560 --> 00:07:37,240 Speaker 3: but you just can't find that production sound guy. Or 137 00:07:37,320 --> 00:07:40,720 Speaker 3: everybody will work for free, but the production sound guy won't. 138 00:07:40,920 --> 00:07:43,080 Speaker 3: So what I realized in school, by the time I 139 00:07:43,120 --> 00:07:45,320 Speaker 3: made it to my third year, I had kind of 140 00:07:45,360 --> 00:07:49,200 Speaker 3: become the go to sound guy. Everybody else they still 141 00:07:49,200 --> 00:07:51,960 Speaker 3: wanted to do the writer director thing, or you know, 142 00:07:52,040 --> 00:07:54,400 Speaker 3: had some other passion. There were very few people at 143 00:07:54,520 --> 00:07:57,840 Speaker 3: SC who had, you know, had a taste for sound 144 00:07:58,520 --> 00:08:03,120 Speaker 3: because it's not glamorous, it's not easy, and it's super 145 00:08:03,640 --> 00:08:08,520 Speaker 3: labor intensive, so it's very hard to fake. You can't 146 00:08:08,560 --> 00:08:11,960 Speaker 3: really phone in a good sound job. So I could 147 00:08:11,960 --> 00:08:15,160 Speaker 3: see that my talents the person I am, just matched 148 00:08:15,240 --> 00:08:19,360 Speaker 3: up with the requirements for sound. And I came out 149 00:08:19,400 --> 00:08:22,360 Speaker 3: here from Rochester, I don't know, I didn't know anybody 150 00:08:22,440 --> 00:08:24,400 Speaker 3: in town, so I knew I had to pay off 151 00:08:24,400 --> 00:08:29,520 Speaker 3: these student loans by doing something. So it was something 152 00:08:29,560 --> 00:08:31,040 Speaker 3: that I was good at, and it was something that 153 00:08:31,120 --> 00:08:33,800 Speaker 3: I saw that I could get employment with immediately. 154 00:08:34,040 --> 00:08:37,800 Speaker 1: So Pete, can you talk about how you got into 155 00:08:37,840 --> 00:08:40,600 Speaker 1: the Fast and Furious movies, Like when did you start 156 00:08:41,240 --> 00:08:43,800 Speaker 1: working on those the franchise? 157 00:08:44,120 --> 00:08:47,800 Speaker 3: I started working on Fast and Furious with Tokyo Drift, 158 00:08:48,400 --> 00:08:51,319 Speaker 3: as a lot of us did. The string of events 159 00:08:51,400 --> 00:08:54,400 Speaker 3: went like my first job in the sound business, I 160 00:08:54,400 --> 00:08:56,400 Speaker 3: worked at a place called the Creative Cafe for eight 161 00:08:56,480 --> 00:09:01,800 Speaker 3: years and my boss, Steve hunter Flick, did a lot 162 00:09:01,800 --> 00:09:06,640 Speaker 3: of films with Sally Menke, a great picture editor, and 163 00:09:07,040 --> 00:09:09,880 Speaker 3: as I was kind of, you know, the errand boy, 164 00:09:10,280 --> 00:09:13,720 Speaker 3: running around doing everything I can, trying to make the 165 00:09:13,720 --> 00:09:17,120 Speaker 3: most of my opportunity, there was a picture assistant working 166 00:09:17,160 --> 00:09:19,280 Speaker 3: for a Sally named Fred Raskin. 167 00:09:19,520 --> 00:09:22,360 Speaker 1: Fred. I know Fred, you know Freda. So it was 168 00:09:22,400 --> 00:09:25,320 Speaker 1: the editor for Better Luck Tomorrow and Fast and Furious, 169 00:09:25,360 --> 00:09:28,800 Speaker 1: Tokyo Drift exactly now just Quentin Tarantino movies. 170 00:09:29,080 --> 00:09:33,000 Speaker 3: And my boss and Sally did Quentin Tarantino movies. So 171 00:09:33,880 --> 00:09:36,120 Speaker 3: as we kind of came up through the trenches, we 172 00:09:36,440 --> 00:09:39,280 Speaker 3: you know, we'd see each other taking stuff back and 173 00:09:39,320 --> 00:09:42,080 Speaker 3: forth or handing things off. He saw something in me, 174 00:09:42,880 --> 00:09:47,280 Speaker 3: and after Better Luck Tomorrow, when Annapolis happened. They needed 175 00:09:47,760 --> 00:09:51,800 Speaker 3: a sound guy, and God blessed Fred Raskin, but he 176 00:09:51,880 --> 00:09:55,160 Speaker 3: insisted that that sound guy be me and the company 177 00:09:55,200 --> 00:09:58,360 Speaker 3: that I eventually worked for. They threw Oscar winners at him, 178 00:09:58,520 --> 00:10:02,280 Speaker 3: they threw you know, really great sound folks at him, 179 00:10:02,559 --> 00:10:04,640 Speaker 3: and he just stuck to his guns and said, nope, 180 00:10:04,679 --> 00:10:09,040 Speaker 3: I want Peter Brown. So that opportunity opened a ton 181 00:10:09,080 --> 00:10:12,160 Speaker 3: of doors. You know, I really killed myself to do that. 182 00:10:12,320 --> 00:10:14,720 Speaker 3: But that was something funny that happened. At the first 183 00:10:14,880 --> 00:10:18,960 Speaker 3: preview of the movie, someone in the focus group mentioned 184 00:10:18,960 --> 00:10:22,360 Speaker 3: how great the boxing sounds were. This never happens in 185 00:10:22,360 --> 00:10:25,120 Speaker 3: the focus groups. Nobody really ever talks about the sound, 186 00:10:25,760 --> 00:10:29,960 Speaker 3: and so Disney was super happy. The companies who's umbrella 187 00:10:29,960 --> 00:10:31,920 Speaker 3: I was working on it was super happy, and so 188 00:10:32,000 --> 00:10:36,400 Speaker 3: that turned into, you know, a great relationship with the 189 00:10:36,440 --> 00:10:40,000 Speaker 3: company that I work with now since that time. And 190 00:10:40,120 --> 00:10:43,320 Speaker 3: when we were doing the final mix on Annapolis, Justin 191 00:10:43,400 --> 00:10:46,480 Speaker 3: came into the stage one day and he was really 192 00:10:46,520 --> 00:10:48,760 Speaker 3: busy because he was like, you know, like a lot 193 00:10:48,800 --> 00:10:51,920 Speaker 3: of directors, you know, you're only You're only as good 194 00:10:51,960 --> 00:10:54,240 Speaker 3: as the last thing you've made. So that's the time 195 00:10:54,320 --> 00:10:56,520 Speaker 3: to strike the iron and get the next films going, 196 00:10:56,520 --> 00:10:58,679 Speaker 3: and he came in and he was like, well, I've 197 00:10:58,679 --> 00:11:01,400 Speaker 3: got three offers on the table. I don't really know 198 00:11:01,440 --> 00:11:03,079 Speaker 3: what I should do, and I don't remember what the 199 00:11:03,480 --> 00:11:05,640 Speaker 3: first two were. It was, you know, film may film 200 00:11:05,679 --> 00:11:08,080 Speaker 3: be and Fast and Furious. 201 00:11:08,000 --> 00:11:11,120 Speaker 1: And I was just like, justin, you must do Fast 202 00:11:11,160 --> 00:11:11,760 Speaker 1: and Furious. 203 00:11:12,200 --> 00:11:16,679 Speaker 3: Absolutely, and he's like, we'll see, Oh, that's so fun, 204 00:11:16,960 --> 00:11:19,480 Speaker 3: and you know, sure enough, a few months later he 205 00:11:19,520 --> 00:11:20,679 Speaker 3: was doing Fast and Furious. 206 00:11:21,600 --> 00:11:23,520 Speaker 2: Had you done many car films prior to that? 207 00:11:23,960 --> 00:11:27,840 Speaker 3: No, But as a sound guy, I knew that if 208 00:11:27,840 --> 00:11:32,559 Speaker 3: I was going to do anything of substance, anything you know, worthwhile, 209 00:11:32,640 --> 00:11:35,079 Speaker 3: you kind of need to do a science fiction film, 210 00:11:35,360 --> 00:11:41,280 Speaker 3: a war film, or a racing film. It's not entirely 211 00:11:41,320 --> 00:11:44,600 Speaker 3: exclusive set, but those are the types of films where 212 00:11:44,640 --> 00:11:46,160 Speaker 3: you can really sink your teeth in. 213 00:12:00,240 --> 00:12:03,400 Speaker 2: Were you into cars prior to Tokyo. 214 00:12:03,040 --> 00:12:05,640 Speaker 3: Drift, I'm sorry to admit no, not really. 215 00:12:05,760 --> 00:12:09,200 Speaker 2: So you had a lot of fun learning about the 216 00:12:09,240 --> 00:12:12,439 Speaker 2: different engines and the different sounds of them, so much fun. 217 00:12:12,720 --> 00:12:16,480 Speaker 3: And you're totally right about the education thing. I mean, 218 00:12:16,520 --> 00:12:19,040 Speaker 3: one of the one of the best things about life, 219 00:12:19,160 --> 00:12:20,400 Speaker 3: or one of the things I think that keeps you 220 00:12:20,400 --> 00:12:22,760 Speaker 3: alive is just curiosity and learning. 221 00:12:22,760 --> 00:12:24,760 Speaker 2: I always say the same thing. If I'm not learning, 222 00:12:24,840 --> 00:12:27,400 Speaker 2: then I need to reevaluate things, because that's what keeps 223 00:12:27,400 --> 00:12:28,160 Speaker 2: me engaged. 224 00:12:27,960 --> 00:12:31,600 Speaker 3: Interested and what makes documentaries so great to work on. Yeah, 225 00:12:31,640 --> 00:12:34,760 Speaker 3: but here was a situation where there was a whole 226 00:12:34,960 --> 00:12:38,880 Speaker 3: world of things that I knew nothing about and was 227 00:12:38,960 --> 00:12:41,480 Speaker 3: able to just throw myself into it. And it was 228 00:12:41,480 --> 00:12:44,160 Speaker 3: a great time to do it because La was alive 229 00:12:44,320 --> 00:12:49,160 Speaker 3: with people drifting and so you know, suddenly, you know, 230 00:12:49,200 --> 00:12:52,920 Speaker 3: my vocabulary was one jay z RB twenty four. All 231 00:12:53,000 --> 00:12:56,080 Speaker 3: these you know, letters and numbers and things that I 232 00:12:56,080 --> 00:12:59,880 Speaker 3: didn't know, and you know, our job is to augment 233 00:13:00,320 --> 00:13:03,280 Speaker 3: the story in the film, and cars are a fantastic 234 00:13:03,320 --> 00:13:07,000 Speaker 3: opportunity to you know, be an extension of the characters 235 00:13:07,000 --> 00:13:09,320 Speaker 3: in the film. So I had to learn about all 236 00:13:09,320 --> 00:13:12,480 Speaker 3: these different cars and figure out, you know, what they 237 00:13:12,520 --> 00:13:16,280 Speaker 3: were and what would be correct. Very often, you know, 238 00:13:16,360 --> 00:13:20,120 Speaker 3: the studeo seems to be kind of relaxed about what 239 00:13:20,160 --> 00:13:22,120 Speaker 3: you use. They kind of think all these things exist 240 00:13:22,120 --> 00:13:24,800 Speaker 3: in libraries, can't you just use that? But one of 241 00:13:24,880 --> 00:13:27,160 Speaker 3: my favorite parts of the process is going out and 242 00:13:27,200 --> 00:13:31,720 Speaker 3: finding the right material, the organic, original piece and then 243 00:13:31,760 --> 00:13:33,360 Speaker 3: bringing that into the studio, so I had to learn 244 00:13:33,400 --> 00:13:38,160 Speaker 3: about all these cars and stuff that really didn't exist 245 00:13:38,160 --> 00:13:41,840 Speaker 3: in libraries at all. And so I recorded, you know, 246 00:13:41,880 --> 00:13:46,439 Speaker 3: two forty s x's, three fifty z's, all the cars 247 00:13:46,440 --> 00:13:48,720 Speaker 3: in there. And I think I even I recorded what 248 00:13:48,920 --> 00:13:52,319 Speaker 3: is still my favorite car, which was the Fulcon Motorsports 249 00:13:52,520 --> 00:13:54,800 Speaker 3: RX seven, which we used for Hans car. 250 00:13:55,000 --> 00:13:58,120 Speaker 2: That is beautiful. That erodary is your favorite sounding car 251 00:13:58,640 --> 00:14:00,319 Speaker 2: on your first car project, ad. 252 00:14:00,480 --> 00:14:02,480 Speaker 3: I mean even I listened to a lot of cars. 253 00:14:02,520 --> 00:14:04,800 Speaker 3: I cut in a lot of cars. Nothing sounds like 254 00:14:05,160 --> 00:14:06,200 Speaker 3: this engine. 255 00:14:06,280 --> 00:14:07,360 Speaker 1: It is such a beast. 256 00:14:08,160 --> 00:14:10,760 Speaker 3: And what I brought along to take a listen to 257 00:14:11,400 --> 00:14:17,360 Speaker 3: is the best recording of that engine. And indeed it 258 00:14:17,440 --> 00:14:22,640 Speaker 3: died either during this recording moment or moments afterwards. 259 00:14:22,880 --> 00:14:24,520 Speaker 1: What do you mean it died, I mean it died. 260 00:14:24,560 --> 00:14:32,840 Speaker 1: The engine died. Oh anybody? This is why nobody wants 261 00:14:33,000 --> 00:14:37,040 Speaker 1: to let the Fast and Furious crew borrow their cars, 262 00:14:37,080 --> 00:14:38,800 Speaker 1: because it's notorious. 263 00:14:39,240 --> 00:14:41,240 Speaker 2: I guess for people who don't know a rotary, I'm 264 00:14:41,280 --> 00:14:43,680 Speaker 2: probably not the best to explain it because I haven't 265 00:14:43,680 --> 00:14:45,680 Speaker 2: had my hands on one yet. But they're also known 266 00:14:45,720 --> 00:14:48,800 Speaker 2: as Dorito's and it's essentially a cameless engine. You have 267 00:14:48,880 --> 00:14:53,320 Speaker 2: this Dorrito kind of creating revolutions internally, that's creating combustion. 268 00:14:53,400 --> 00:14:55,840 Speaker 2: It's just a different a different style of an engine. 269 00:14:55,840 --> 00:14:59,280 Speaker 2: I'm not doing it justice at all. Rotaries are notorious 270 00:14:59,320 --> 00:15:01,480 Speaker 2: for that blop blop sound. 271 00:15:01,360 --> 00:15:04,560 Speaker 1: Opposed to the piston sound, which sounds like a sewing machine. 272 00:15:05,720 --> 00:15:08,640 Speaker 2: Yeah, I've never heard so. Yeah, that's a perfect way been. 273 00:15:08,640 --> 00:15:12,720 Speaker 1: Down opposed to you know, rotary right spinning again. 274 00:15:12,680 --> 00:15:14,600 Speaker 3: And I think what broke on this thing was the 275 00:15:14,600 --> 00:15:17,280 Speaker 3: tip of one of those corners of the Dorito. Something 276 00:15:18,000 --> 00:15:18,840 Speaker 3: went wrong in that. 277 00:15:18,960 --> 00:15:22,000 Speaker 2: Here's the definition. The Winkle engine is a type of 278 00:15:22,000 --> 00:15:25,280 Speaker 2: internal combustion engine using an eccentric rotary design to confront 279 00:15:25,280 --> 00:15:27,000 Speaker 2: pressure into rotating motion. 280 00:15:28,640 --> 00:15:32,320 Speaker 1: I like Darden, Yeah, yeah, okay, So it's like a 281 00:15:32,360 --> 00:15:33,240 Speaker 1: Dorito spinning. 282 00:15:34,120 --> 00:15:37,680 Speaker 2: Yeah, and then intake goes in the rotation, crazy the compression, 283 00:15:37,760 --> 00:15:38,920 Speaker 2: and then it goes out the exhaust. 284 00:15:39,040 --> 00:15:41,360 Speaker 1: Well, let's listen to this, bad boy, I want to 285 00:15:41,360 --> 00:15:41,600 Speaker 1: hear it. 286 00:15:41,840 --> 00:15:44,520 Speaker 3: So we put Mike's in the engine apartment, we put 287 00:15:44,560 --> 00:15:47,600 Speaker 3: Mike's on the exhaust pipe. We put microphones inside the 288 00:15:47,640 --> 00:15:51,400 Speaker 3: car so that we have a whole variety of perspectives 289 00:15:51,440 --> 00:15:54,640 Speaker 3: of the car, and no matter what gets thrown at 290 00:15:54,720 --> 00:15:57,920 Speaker 3: us on the film, we can reproduce it. If we're 291 00:15:57,960 --> 00:16:01,040 Speaker 3: having the driver's POV, we've got the perspective. If we 292 00:16:01,080 --> 00:16:05,000 Speaker 3: want to feature the blowoff valve on the turbo, we've 293 00:16:05,000 --> 00:16:06,600 Speaker 3: got a mic right next to that, and so we 294 00:16:06,640 --> 00:16:08,720 Speaker 3: can isolate that from all the rest of the sounds. 295 00:16:08,800 --> 00:16:10,640 Speaker 2: You know, it seems so obvious, but that's not something 296 00:16:10,640 --> 00:16:13,080 Speaker 2: that I would think of. Is usually when I'm recording, 297 00:16:13,120 --> 00:16:15,600 Speaker 2: it's like, okay, microphone by the exhaust. But to put 298 00:16:15,600 --> 00:16:17,480 Speaker 2: one in the engine ban and then also in the 299 00:16:17,480 --> 00:16:19,920 Speaker 2: cab of the car, I mean, I guess, yeah, you 300 00:16:19,960 --> 00:16:21,040 Speaker 2: need those different sounds. 301 00:16:21,240 --> 00:16:23,520 Speaker 3: This is an exterior perspective. So in addition to having 302 00:16:23,560 --> 00:16:26,600 Speaker 3: all the mics on the cars, we'll be lined up 303 00:16:26,640 --> 00:16:31,280 Speaker 3: along the racetrack or the runway, one person after the other. 304 00:16:31,680 --> 00:16:34,440 Speaker 3: So one person will get the car starting up, and 305 00:16:34,480 --> 00:16:37,640 Speaker 3: then the next person gets the car going by as 306 00:16:37,720 --> 00:16:40,840 Speaker 3: it's in second gear, and then the next person gets 307 00:16:40,920 --> 00:16:43,160 Speaker 3: the shift from second to third, and then the next 308 00:16:43,200 --> 00:16:45,680 Speaker 3: person you might get the shift from. 309 00:16:45,960 --> 00:16:46,720 Speaker 1: Third to fourth. 310 00:16:47,480 --> 00:16:52,920 Speaker 3: So this one is getting the car further down, further 311 00:16:52,960 --> 00:16:54,800 Speaker 3: down the track, but you'll get to hear this performance. 312 00:16:54,840 --> 00:16:58,640 Speaker 3: All these microphones are recording the same performance of the car, 313 00:16:59,080 --> 00:17:22,680 Speaker 3: and you'll get a chance to hear the differences between them. 314 00:17:22,840 --> 00:17:24,639 Speaker 1: Wow, that's a good sound. 315 00:17:24,760 --> 00:17:28,760 Speaker 3: It is, okay, So why is the RX seven special 316 00:17:28,800 --> 00:17:33,200 Speaker 3: to me? There's definitely some of it which comes from 317 00:17:33,720 --> 00:17:36,440 Speaker 3: the first time you'd do something. This was the first 318 00:17:36,560 --> 00:17:39,840 Speaker 3: car film that I did. When we were putting the 319 00:17:39,880 --> 00:17:44,240 Speaker 3: mix together, it was just so it was so loud. 320 00:17:44,280 --> 00:17:48,480 Speaker 3: It was really hard to get pieces to read. You know, 321 00:17:48,520 --> 00:17:50,879 Speaker 3: I don't think we knew what We don't know what 322 00:17:50,920 --> 00:17:54,760 Speaker 3: we know now about how to balance some of those sounds, 323 00:17:54,880 --> 00:17:58,920 Speaker 3: but never had any problem getting that to cut through. 324 00:17:59,440 --> 00:18:03,040 Speaker 3: And the way some combination of the amount of horsepower 325 00:18:03,040 --> 00:18:06,000 Speaker 3: in that car and the way the rev limitter hits 326 00:18:06,560 --> 00:18:09,959 Speaker 3: is just it has the element that we are always 327 00:18:10,000 --> 00:18:14,360 Speaker 3: asked for in film sound, which is the director will 328 00:18:14,400 --> 00:18:18,400 Speaker 3: always come in with some difficult spot and say, okay 329 00:18:18,760 --> 00:18:21,600 Speaker 3: the sound for this, and I want an iconic, I 330 00:18:21,640 --> 00:18:26,480 Speaker 3: want a signature sound. So this was like my first 331 00:18:26,680 --> 00:18:29,840 Speaker 3: signature sound. It's something that I think you could play. 332 00:18:30,000 --> 00:18:32,639 Speaker 3: It's you know, it's my lightsaber. You could play it 333 00:18:32,680 --> 00:18:36,080 Speaker 3: for anybody anywhere who knows a thing or two about cars, 334 00:18:36,119 --> 00:18:38,760 Speaker 3: and they'll be like, hey, that's that's Hans RX seven 335 00:18:38,840 --> 00:18:40,000 Speaker 3: from Tokyo Drift. 336 00:18:40,200 --> 00:18:41,520 Speaker 2: Very unique sound for sure. 337 00:18:41,600 --> 00:18:43,920 Speaker 1: Can we hear another perspective of the road re engine? 338 00:18:44,080 --> 00:18:47,480 Speaker 3: Yeah, this is closer to the start of the launch here. 339 00:18:47,520 --> 00:18:49,840 Speaker 2: So this is still the RX seven. We're now listening 340 00:18:49,880 --> 00:18:51,399 Speaker 2: from a different here. 341 00:18:51,440 --> 00:18:56,359 Speaker 3: You'll hear, you know, just a really really nice, rich 342 00:18:56,400 --> 00:18:59,080 Speaker 3: recording and the type of you know sound that you 343 00:18:59,160 --> 00:19:01,280 Speaker 3: hear in multiple places in Tokyo Drift. 344 00:19:01,720 --> 00:19:14,320 Speaker 2: M God, I love cars. 345 00:19:15,440 --> 00:19:19,159 Speaker 1: That that sounds like that sequence at the stoplight with 346 00:19:19,320 --> 00:19:22,600 Speaker 1: the exchanging of the numbers, and they're like. 347 00:19:22,560 --> 00:19:25,800 Speaker 3: It brings you back, like the smell of your girlfriend's. 348 00:19:25,240 --> 00:19:29,720 Speaker 1: Perfume donuting around the girls that recording that's that Yeah, wow, 349 00:19:30,520 --> 00:19:32,520 Speaker 1: there you go. But it just it's it's it was 350 00:19:32,520 --> 00:19:36,000 Speaker 1: on loop, like as we spent around. 351 00:19:36,000 --> 00:19:38,199 Speaker 3: There's definitely you know, there's other pieces in there. So 352 00:19:38,280 --> 00:19:41,439 Speaker 3: this is a tailpipe mic from the same performance, but 353 00:19:41,560 --> 00:19:44,160 Speaker 3: this is attached to the car, so you don't get 354 00:19:44,200 --> 00:19:46,880 Speaker 3: any of the perspective change. And this would have also 355 00:19:47,000 --> 00:19:49,040 Speaker 3: been used in that in that scene. 356 00:19:49,920 --> 00:20:14,560 Speaker 1: M hm. Iconic one of a kind. 357 00:20:14,720 --> 00:20:19,040 Speaker 2: Yeah, Typically, when I'm recording my cars, it's for YouTube, 358 00:20:19,560 --> 00:20:23,680 Speaker 2: and I want to show the audience what you know, 359 00:20:24,240 --> 00:20:27,280 Speaker 2: how a modification can change the sound of a vehicle. 360 00:20:28,200 --> 00:20:29,000 Speaker 1: That sounds really cool. 361 00:20:29,280 --> 00:20:34,320 Speaker 2: Yeah, I like the sound coming from a tailpipe the best, 362 00:20:34,440 --> 00:20:37,240 Speaker 2: unless it's like a supercharger or something turbo. You want 363 00:20:37,280 --> 00:20:40,720 Speaker 2: that microphone in the engine bay. But I find that 364 00:20:40,920 --> 00:20:43,520 Speaker 2: when I'm recording, most of it is from behind the car, 365 00:20:43,640 --> 00:20:48,439 Speaker 2: so people can really get that that raw tailpipe exhaust sound. 366 00:20:49,160 --> 00:20:51,800 Speaker 2: And yeah, every little modification on a car seems to 367 00:20:51,920 --> 00:20:53,520 Speaker 2: change how that sounds. 368 00:20:53,840 --> 00:20:56,359 Speaker 3: I also I feel the same way about tailpipes. That's 369 00:20:56,640 --> 00:20:59,720 Speaker 3: to me, where the signature is. Yeah, with accents from 370 00:20:59,760 --> 00:21:04,200 Speaker 3: the or the supercharger totally, And that modding process, even 371 00:21:04,240 --> 00:21:06,560 Speaker 3: though I don't understand it, is very important to me 372 00:21:07,240 --> 00:21:10,760 Speaker 3: because if I get, you know, a car, you know, 373 00:21:10,880 --> 00:21:15,159 Speaker 3: just from the manufacturer generally and especially nowadays, it doesn't 374 00:21:15,160 --> 00:21:17,840 Speaker 3: really sound like much because what I'm interested in in 375 00:21:17,880 --> 00:21:21,600 Speaker 3: a car is the power of the engine, the sound 376 00:21:21,640 --> 00:21:24,040 Speaker 3: and the character of it. And what car manufacturers are 377 00:21:24,040 --> 00:21:27,840 Speaker 3: interested in is that the car is silent and is 378 00:21:27,880 --> 00:21:28,600 Speaker 3: a nice ride. 379 00:21:28,760 --> 00:21:30,720 Speaker 2: So the non muffled version is what. 380 00:21:30,640 --> 00:21:32,600 Speaker 1: You like, right, and which is what we all like. 381 00:21:32,960 --> 00:21:35,600 Speaker 3: And I don't like I don't like to cheat because 382 00:21:35,640 --> 00:21:39,600 Speaker 3: the fans are important. But in Fast nine, for example, 383 00:21:40,359 --> 00:21:45,119 Speaker 3: you're driving a Supra and we went and recorded that Supra. 384 00:21:45,240 --> 00:21:47,440 Speaker 3: It was a brand new Supra, so they often do 385 00:21:47,600 --> 00:21:52,159 Speaker 3: product placements, and it sounded like nothing. It's just it 386 00:21:52,280 --> 00:21:54,000 Speaker 3: was a nice, quiet car. 387 00:21:54,560 --> 00:21:57,680 Speaker 1: So we might have put a three fifty in there, really. 388 00:21:57,560 --> 00:22:01,120 Speaker 3: Because I thought that was appropriate for your character, and 389 00:22:01,240 --> 00:22:03,560 Speaker 3: it had a little bit of the rev limitter hit. 390 00:22:03,600 --> 00:22:06,600 Speaker 3: I wanted to I wanted to harken back to that car. 391 00:22:06,680 --> 00:22:10,920 Speaker 3: So that was a moment where took some artistic license 392 00:22:11,080 --> 00:22:14,160 Speaker 3: and said, look this this is not going the It's 393 00:22:14,160 --> 00:22:17,320 Speaker 3: not going to cut through the sound of the rest 394 00:22:17,320 --> 00:22:20,680 Speaker 3: of the film, but Hans driving it, so it needs 395 00:22:20,680 --> 00:22:22,040 Speaker 3: to sound like a Han car. 396 00:22:22,240 --> 00:22:24,119 Speaker 1: If you had called me, I could have got you 397 00:22:25,200 --> 00:22:28,879 Speaker 1: Supra that had some modified sound. 398 00:22:29,240 --> 00:22:32,159 Speaker 3: The problem was and I would have called you, but 399 00:22:32,240 --> 00:22:35,800 Speaker 3: it was it was plague years right. It was like 400 00:22:36,240 --> 00:22:38,240 Speaker 3: a day or so after Tom Hanks got COVID and 401 00:22:38,240 --> 00:22:40,200 Speaker 3: we realized in Hollywood it was real. 402 00:22:41,440 --> 00:22:44,000 Speaker 2: Is it possible to hear the other car sounds if 403 00:22:44,040 --> 00:22:46,080 Speaker 2: you just do one of each of the few you. 404 00:22:46,040 --> 00:22:49,400 Speaker 3: Brought, Well, we can listen to the Chevy. But here's 405 00:22:49,440 --> 00:22:54,240 Speaker 3: another example of cheating. This is Hans' car in Fast 406 00:22:54,280 --> 00:22:58,320 Speaker 3: and Furious four. What the production car was was a 407 00:22:58,440 --> 00:23:02,400 Speaker 3: nineteen sixty seven Chevy C ten, but it had pipes 408 00:23:02,520 --> 00:23:27,600 Speaker 3: up the side of it like a diesel. So if 409 00:23:27,600 --> 00:23:30,439 Speaker 3: you're confused, is that driving reverse? That's that's when you 410 00:23:30,480 --> 00:23:32,520 Speaker 3: do your one eighty and then you're driving in reverse. 411 00:23:33,040 --> 00:23:37,399 Speaker 3: So that is a Frankenstein car. Dom was in what 412 00:23:37,520 --> 00:23:41,360 Speaker 3: a Grand National There was a semi like a Cummings 413 00:23:41,400 --> 00:23:47,080 Speaker 3: Diesel semi, and you and Tigo were in these pickup 414 00:23:47,119 --> 00:23:49,720 Speaker 3: trucks I think are used an LS three, probably from 415 00:23:49,720 --> 00:23:53,600 Speaker 3: one of Dennis's trophy trucks for Tigos. But this one 416 00:23:53,680 --> 00:23:57,639 Speaker 3: is this is a doppelganger Frankenstein car where I wanted 417 00:23:57,640 --> 00:24:00,600 Speaker 3: it to sound like a diesel because that's what looked like. 418 00:24:00,880 --> 00:24:03,520 Speaker 3: But getting good diesel recordings is really difficult. 419 00:24:03,640 --> 00:24:05,320 Speaker 2: Why is it difficult to record diesels? 420 00:24:06,119 --> 00:24:08,960 Speaker 3: You know? The it's a similar problem with with a 421 00:24:09,000 --> 00:24:12,040 Speaker 3: lot of cars is that car manufacturers are just getting 422 00:24:12,080 --> 00:24:14,960 Speaker 3: really good at this, and so engines are getting more 423 00:24:15,000 --> 00:24:18,920 Speaker 3: and more efficient with diesels in my experience, and I 424 00:24:18,960 --> 00:24:22,480 Speaker 3: don't exactly know how they're made. Most diesels these days 425 00:24:22,520 --> 00:24:27,520 Speaker 3: are turbos and the turbo you know, is very efficient. 426 00:24:27,560 --> 00:24:28,840 Speaker 1: It's taking those. 427 00:24:28,680 --> 00:24:32,760 Speaker 3: Exhaust gases and turning it back into you know, forcing 428 00:24:32,800 --> 00:24:35,760 Speaker 3: air into the engine and power, and it's it to me, 429 00:24:35,800 --> 00:24:38,840 Speaker 3: it just sounds like a hair dryer, just a lot 430 00:24:38,840 --> 00:24:43,520 Speaker 3: of air. We recorded Banks's diesel Dragstert and it just 431 00:24:43,640 --> 00:24:44,680 Speaker 3: you know, it just sounds like. 432 00:24:46,800 --> 00:24:49,760 Speaker 2: That sounds so good, but I understand it's also not 433 00:24:49,920 --> 00:24:50,960 Speaker 2: the sound you're looking for. 434 00:24:51,200 --> 00:24:54,800 Speaker 3: Well, it's just when mixed in with music and other things, 435 00:24:54,880 --> 00:24:56,240 Speaker 3: it's kind of like white noise. 436 00:24:56,320 --> 00:24:57,800 Speaker 2: Do you lose the sound of the engine. 437 00:24:58,080 --> 00:25:02,560 Speaker 3: Yeah, And so from my ears, I like old, you know, 438 00:25:03,280 --> 00:25:08,960 Speaker 3: crappy fifties diesels stuff where that aren't all turbocharged and 439 00:25:09,040 --> 00:25:12,520 Speaker 3: they really have a you know, fun sounds to them. 440 00:25:12,640 --> 00:25:15,879 Speaker 3: Or you know a diesel that's you know, just doesn't 441 00:25:16,080 --> 00:25:17,760 Speaker 3: is not so efficient that it just sounds like a 442 00:25:17,760 --> 00:25:21,400 Speaker 3: big hair dryer. And they're really hard to come by, 443 00:25:21,640 --> 00:25:25,080 Speaker 3: sure because you know most of those are you know, 444 00:25:25,119 --> 00:25:29,880 Speaker 3: getting older, or they're not. They're built as workhorses, they're 445 00:25:29,880 --> 00:25:31,280 Speaker 3: not built as race cars. 446 00:25:31,359 --> 00:25:32,960 Speaker 2: Well, if I'm happy to help you find one, if 447 00:25:33,000 --> 00:25:35,600 Speaker 2: you want to record one and need help sourcing one. 448 00:25:35,800 --> 00:25:39,320 Speaker 3: There's probably somebody somewhere. Oh yeah, until you listeners out there. 449 00:25:39,359 --> 00:25:41,600 Speaker 3: If you've got an old diesel that you want recorded, 450 00:25:41,640 --> 00:25:45,520 Speaker 3: give me a holler. But back to the C ten, 451 00:25:45,800 --> 00:25:49,040 Speaker 3: you know that there's all kinds of cars mixed in there. 452 00:25:49,119 --> 00:25:53,040 Speaker 3: When you really get on it, I actually cut dragstre engines, 453 00:25:53,119 --> 00:25:55,600 Speaker 3: so it goes from a diesel to a V eight. 454 00:25:56,119 --> 00:25:59,560 Speaker 3: And then when you spin around that wine that you 455 00:25:59,640 --> 00:26:02,120 Speaker 3: hear that you know that that thing is backing up. 456 00:26:02,600 --> 00:26:04,000 Speaker 1: I think that's from a Honda. 457 00:26:03,720 --> 00:26:07,400 Speaker 3: Accord, because there's there's a few there's a range of 458 00:26:07,600 --> 00:26:12,520 Speaker 3: Japanese cars, maybe late eighties or early nineties that really 459 00:26:12,560 --> 00:26:16,720 Speaker 3: have a very characteristic backup gear that has. 460 00:26:16,600 --> 00:26:18,560 Speaker 1: That high sound. 461 00:26:19,000 --> 00:26:21,960 Speaker 3: And so when I need to say instantly to the audience, 462 00:26:22,040 --> 00:26:24,920 Speaker 3: backing up fast, I use that, even though it makes 463 00:26:25,640 --> 00:26:28,200 Speaker 3: no logical sense to any car people. But so far 464 00:26:28,280 --> 00:26:30,600 Speaker 3: nobody's complained about it. But now that I've let my 465 00:26:30,640 --> 00:26:32,680 Speaker 3: pants down, I expect the hate mail is going to 466 00:26:32,720 --> 00:26:33,399 Speaker 3: start pouring in. 467 00:26:33,520 --> 00:26:36,400 Speaker 1: But that's the title sound designer. You have to design 468 00:26:36,520 --> 00:26:39,159 Speaker 1: these sounds to tell the story too. I mean the 469 00:26:39,320 --> 00:26:42,639 Speaker 1: idea of make you know, finding the right sound to 470 00:26:42,640 --> 00:26:48,040 Speaker 1: go to explain or to showcase going into reverse, especially 471 00:26:48,080 --> 00:26:51,360 Speaker 1: if the car doesn't or the the engine that's supposed 472 00:26:51,359 --> 00:26:53,040 Speaker 1: to be in the car doesn't make it. You have 473 00:26:53,119 --> 00:26:55,680 Speaker 1: to create that. You have to design that. It's pretty cool. 474 00:26:55,880 --> 00:27:01,960 Speaker 1: Who would have known it's a Honda Chord. Huh yeah, right, 475 00:27:11,720 --> 00:27:14,680 Speaker 1: let's keep these clips, So let's do another car. 476 00:27:15,280 --> 00:27:17,440 Speaker 3: This might be my second favorite. I don't know why 477 00:27:17,480 --> 00:27:21,359 Speaker 3: you're always involved somehow in these cars. But in Fast 478 00:27:21,400 --> 00:27:24,680 Speaker 3: and Furious five is a brief moment where Han is 479 00:27:24,800 --> 00:27:28,760 Speaker 3: driving through the city in a Ford Maverick. So part 480 00:27:28,800 --> 00:27:31,119 Speaker 3: of it is the engine, part of it is what 481 00:27:31,160 --> 00:27:33,480 Speaker 3: we do with recording, part of it is editing, but 482 00:27:33,520 --> 00:27:35,960 Speaker 3: a huge part of it is the performance of the driver. 483 00:27:36,840 --> 00:27:43,000 Speaker 3: If the driver knows film and understands storytelling, they can 484 00:27:43,080 --> 00:27:46,480 Speaker 3: do miraculous things with the car. They can make it speak. 485 00:27:46,520 --> 00:27:49,119 Speaker 3: I don't drive these cars. I have professionals do it. 486 00:27:49,520 --> 00:27:52,679 Speaker 3: Like we worked with Kenji last week over at Grety, 487 00:27:53,160 --> 00:27:56,040 Speaker 3: and this is a guy who just understands story and 488 00:27:56,040 --> 00:27:59,600 Speaker 3: he understands what we're looking for and how to make 489 00:27:59,640 --> 00:28:01,920 Speaker 3: the car perform in something that's going to sound good 490 00:28:01,960 --> 00:28:02,640 Speaker 3: on film. 491 00:28:02,760 --> 00:28:06,720 Speaker 1: Kenji Somino as the president of Gretty. He actually built 492 00:28:07,000 --> 00:28:10,800 Speaker 1: Brian's Supra and Fast and Furious one. 493 00:28:10,880 --> 00:28:15,400 Speaker 3: So a problem that I have with professional drivers, with 494 00:28:15,440 --> 00:28:18,800 Speaker 3: someone like Chris Forresburg, is you have to do a 495 00:28:18,800 --> 00:28:21,640 Speaker 3: little cajoling to get them at times to drive poorly 496 00:28:22,720 --> 00:28:27,120 Speaker 3: because they want to do things perfect by the book 497 00:28:27,160 --> 00:28:29,960 Speaker 3: and they'll hit every shift and everything will be perfect, 498 00:28:29,960 --> 00:28:33,919 Speaker 3: and that I want that. That's great to have, but 499 00:28:33,960 --> 00:28:36,919 Speaker 3: I don't just want that. I want to miss the shift. 500 00:28:36,920 --> 00:28:39,640 Speaker 3: I want the clutch to grind. I want because the 501 00:28:39,640 --> 00:28:42,400 Speaker 3: people who are driving the cars in these movies are 502 00:28:42,440 --> 00:28:45,880 Speaker 3: being shot at, or they're being punched, or they're going 503 00:28:45,920 --> 00:28:49,440 Speaker 3: over a jump or things. So there's the more weird 504 00:28:49,520 --> 00:28:52,400 Speaker 3: character that I can get into a car, the better. 505 00:28:53,280 --> 00:28:56,160 Speaker 3: So I've recorded a lot of skids over the years, 506 00:28:56,240 --> 00:29:01,520 Speaker 3: different tires, different driving. But the Maverick that Han drives 507 00:29:01,520 --> 00:29:05,320 Speaker 3: in Fast five was probably one of maybe my second 508 00:29:05,320 --> 00:29:08,920 Speaker 3: favorite car ever because there was something wrong with it. 509 00:29:09,520 --> 00:29:10,680 Speaker 1: I don't know what was wrong. 510 00:29:10,760 --> 00:29:15,320 Speaker 3: I think the axle mount was broken, and so when 511 00:29:15,880 --> 00:29:20,120 Speaker 3: you would start to drift with this thing or stop fast, 512 00:29:21,280 --> 00:29:22,280 Speaker 3: it would sound like this. 513 00:29:46,040 --> 00:29:47,880 Speaker 2: You were talking about the shuttering when it was breaking. 514 00:29:48,040 --> 00:29:53,120 Speaker 3: That chattering skid is fantastic. It's box office gold. I've 515 00:29:53,120 --> 00:29:55,360 Speaker 3: never had a car that's made those sounds. 516 00:29:55,960 --> 00:29:58,720 Speaker 4: That's not a stock motor for the Maverick. What car 517 00:29:58,840 --> 00:30:01,840 Speaker 4: was that was that? The act Maverick that I don't 518 00:30:02,040 --> 00:30:04,400 Speaker 4: I don't know. I guess it was probably an LS three, 519 00:30:04,440 --> 00:30:07,080 Speaker 4: but maybe not because it's so beat up. But that's 520 00:30:07,120 --> 00:30:09,080 Speaker 4: a it's a vintage car. 521 00:30:09,400 --> 00:30:12,520 Speaker 1: So there was a few models of the Americ and 522 00:30:12,560 --> 00:30:14,680 Speaker 1: I think it was like a two point six Leader 523 00:30:14,720 --> 00:30:19,840 Speaker 1: that was like the fastest GT model. So I think 524 00:30:19,840 --> 00:30:22,560 Speaker 1: that that's completely a modify. That's that's a swap. That 525 00:30:22,640 --> 00:30:23,880 Speaker 1: has to be something else that's like a. 526 00:30:23,920 --> 00:30:26,200 Speaker 2: V six or it didn't sound like an LS to me. 527 00:30:26,640 --> 00:30:29,880 Speaker 1: It did not. What's a Ford? Most likely it's a 528 00:30:29,920 --> 00:30:30,440 Speaker 1: Ford motor. 529 00:30:30,600 --> 00:30:32,200 Speaker 2: Yeah, right, I would hope. 530 00:30:32,840 --> 00:30:35,080 Speaker 3: While we're talking about great entrance, I think we should 531 00:30:35,080 --> 00:30:36,480 Speaker 3: take a listen to the Fugazi. 532 00:30:36,720 --> 00:30:41,160 Speaker 1: Yes, faguzzi. Sorry, the fugazi means fake in it, right, 533 00:30:41,400 --> 00:30:46,040 Speaker 1: fuguzzi fu gou fish plus a z. Fuguzi. I'm JSL 534 00:30:46,360 --> 00:30:47,160 Speaker 1: what's that? 535 00:30:47,240 --> 00:30:49,760 Speaker 3: Japanese is a second language. 536 00:30:50,680 --> 00:30:53,600 Speaker 1: Yeah, So the figuzi is the name of this too 537 00:30:53,800 --> 00:30:56,680 Speaker 1: forty Z this nineteen seventy three dots in two forty 538 00:30:56,760 --> 00:31:02,640 Speaker 1: Z and I named it Figuzi because goofish is a 539 00:31:02,640 --> 00:31:05,680 Speaker 1: blowfish that if you do not prepare it properly, it 540 00:31:05,680 --> 00:31:09,360 Speaker 1: will kill you. So the you know the concept of 541 00:31:09,400 --> 00:31:12,160 Speaker 1: a race car being dangerous if you don't do the 542 00:31:12,240 --> 00:31:14,080 Speaker 1: right prep it will kill you as well. And then 543 00:31:14,120 --> 00:31:17,160 Speaker 1: I added the Z at the end, so feguzi right. 544 00:31:17,240 --> 00:31:19,760 Speaker 1: And I tested it with a bunch of like six 545 00:31:19,880 --> 00:31:23,720 Speaker 1: year olds, going, can you say faguzi? And they're like, Faguzi, Foguzi. 546 00:31:23,800 --> 00:31:26,960 Speaker 1: I go, well, okay, that's easy to say. So I 547 00:31:27,080 --> 00:31:29,520 Speaker 1: like to name all my cars, like to give it 548 00:31:29,560 --> 00:31:32,360 Speaker 1: like a character, you know, and a personality. 549 00:31:32,440 --> 00:31:32,640 Speaker 2: Yeah. 550 00:31:32,680 --> 00:31:34,200 Speaker 3: One of the things that I need to do my 551 00:31:34,400 --> 00:31:39,160 Speaker 3: job well relies on the kindness of strangers. And Sung 552 00:31:39,760 --> 00:31:44,280 Speaker 3: has been a very kind stranger lately by hooking me 553 00:31:44,400 --> 00:31:46,880 Speaker 3: up with people with fantastic cars. And I happen to 554 00:31:46,880 --> 00:31:51,360 Speaker 3: have a need for an RB twenty six engine, which 555 00:31:51,760 --> 00:31:53,720 Speaker 3: I think is very hard to find but really has 556 00:31:53,720 --> 00:31:56,200 Speaker 3: a signature sound, and it just so happens that Sung 557 00:31:56,320 --> 00:31:58,240 Speaker 3: has one of these cars. 558 00:31:58,720 --> 00:32:19,880 Speaker 1: So this is exterior prospect that sounds so nice, Like. 559 00:32:19,800 --> 00:32:21,959 Speaker 2: I'm grin and cheek to cheek. Those just sounds so 560 00:32:22,000 --> 00:32:22,440 Speaker 2: good to me. 561 00:32:22,680 --> 00:32:26,480 Speaker 3: Wow, And that's how I like to record cars out 562 00:32:26,560 --> 00:32:32,280 Speaker 3: in the world, working with gravity, working with mistakes, working 563 00:32:32,320 --> 00:32:35,240 Speaker 3: with grit in the road, and working with the character 564 00:32:35,240 --> 00:32:37,320 Speaker 3: of a driver. But another way to do it is 565 00:32:37,360 --> 00:32:39,720 Speaker 3: on a dino. If you've ever had your car smogged, 566 00:32:39,760 --> 00:32:42,200 Speaker 3: it's where you stick a car in a garage on 567 00:32:42,280 --> 00:32:45,040 Speaker 3: a big, gigantic roller. It's strapped down so it doesn't 568 00:32:45,080 --> 00:32:47,560 Speaker 3: go anywhere, and then you can just drive it up 569 00:32:47,600 --> 00:32:50,880 Speaker 3: to its top speed without having to deal with you know, and. 570 00:32:50,880 --> 00:32:52,920 Speaker 2: I'm assuming you said this is a roller dino, whereas 571 00:32:52,960 --> 00:32:55,200 Speaker 2: sometimes if you have a high performance vehicle, they'll just 572 00:32:55,400 --> 00:32:57,080 Speaker 2: you take off the wheels and you strap it straight 573 00:32:57,120 --> 00:32:57,960 Speaker 2: to the hub of the car. 574 00:32:58,280 --> 00:33:00,800 Speaker 3: Right, this is a roller dino. Okay, this is a 575 00:33:00,840 --> 00:33:03,800 Speaker 3: tailpipe sitting by the dino, but it's not going anywhere. 576 00:33:03,840 --> 00:33:07,680 Speaker 3: And you will hear the whine of the barrel the 577 00:33:08,080 --> 00:33:10,920 Speaker 3: drum at the end of this dynamometer run. 578 00:33:34,800 --> 00:33:35,400 Speaker 1: Yeah, I hear that. 579 00:33:35,960 --> 00:33:37,880 Speaker 2: I'm with you. I like it on the street, and. 580 00:33:38,200 --> 00:33:41,120 Speaker 3: I'm really excited to get this whole record together because 581 00:33:41,120 --> 00:33:45,360 Speaker 3: we've got MIC's on the turbos in the engine, and 582 00:33:45,400 --> 00:33:48,160 Speaker 3: it'll be fun to hear how those sound. I haven't 583 00:33:48,200 --> 00:33:51,360 Speaker 3: mastered it all yet, but I can already tell from 584 00:33:51,400 --> 00:33:53,120 Speaker 3: this that it's going to be a really nice set. 585 00:33:53,280 --> 00:33:54,960 Speaker 2: Have you recorded much evs? 586 00:33:56,600 --> 00:33:58,680 Speaker 1: Very little? Yeah, we have. 587 00:33:58,840 --> 00:34:01,600 Speaker 3: I didn't record it, but we have the EV one 588 00:34:02,520 --> 00:34:04,680 Speaker 3: in the library and for many years that. I think 589 00:34:04,680 --> 00:34:07,880 Speaker 3: that was the first electric vehicle that's used a lot, 590 00:34:08,000 --> 00:34:11,839 Speaker 3: But from what I can understand, the variation in them 591 00:34:11,960 --> 00:34:15,520 Speaker 3: is not much. They all sound very similar. However, if 592 00:34:15,520 --> 00:34:18,319 Speaker 3: you know anybody who does that, whatever the racing is, 593 00:34:18,440 --> 00:34:21,600 Speaker 3: formula e, formula e, I need to meet those people, 594 00:34:21,600 --> 00:34:22,840 Speaker 3: because those sound different. 595 00:34:22,920 --> 00:34:24,040 Speaker 1: They sound pretty awesome. 596 00:34:24,200 --> 00:34:26,960 Speaker 2: Yeah, I feel like most manufacturers now are trying to 597 00:34:27,040 --> 00:34:29,080 Speaker 2: have their unique EV sound. 598 00:34:29,280 --> 00:34:32,680 Speaker 3: I worked with Nissan on their VSP, their vehicle sound 599 00:34:32,719 --> 00:34:35,319 Speaker 3: for pedestrians for belief when they came out with that. 600 00:34:35,520 --> 00:34:38,120 Speaker 3: Oh really, they hired us for a little while to 601 00:34:39,000 --> 00:34:41,799 Speaker 3: come up with a sound for driving, for backing up. 602 00:34:41,920 --> 00:34:43,280 Speaker 2: So how did you create that sound? 603 00:34:43,719 --> 00:34:46,360 Speaker 3: That was really all sound design. I really like the 604 00:34:46,360 --> 00:34:48,960 Speaker 3: backup beeps they were made out of. They're made from 605 00:34:49,000 --> 00:34:51,759 Speaker 3: like a woodfinch, I think, so instead of just being 606 00:34:51,760 --> 00:34:54,480 Speaker 3: this really annoying sound, it was more bird oriented. 607 00:34:54,719 --> 00:34:55,759 Speaker 1: Huh so that was you. 608 00:34:56,360 --> 00:35:00,600 Speaker 3: It was something that I worked on for Nissan USA. 609 00:35:00,880 --> 00:35:01,720 Speaker 1: That is so cool. 610 00:35:01,840 --> 00:35:03,920 Speaker 3: Well, it's less cool because it came down to a 611 00:35:03,960 --> 00:35:07,799 Speaker 3: bake off between what the Nissan USA sound was for 612 00:35:07,840 --> 00:35:11,960 Speaker 3: the Leaf and what the Nissan Japanese sound was. And 613 00:35:12,120 --> 00:35:14,520 Speaker 3: let me let me make you guess which one they 614 00:35:14,520 --> 00:35:15,760 Speaker 3: went with Japan. 615 00:35:16,040 --> 00:35:18,680 Speaker 1: Yeah, so now I hear that and I'm like, hmmm, 616 00:35:18,960 --> 00:35:21,160 Speaker 1: could have been a wood finch. But that's pretty awesome. 617 00:35:21,160 --> 00:35:22,120 Speaker 1: They reached out to you. 618 00:35:22,280 --> 00:35:24,840 Speaker 3: They were They were super awesome. I really I like 619 00:35:24,960 --> 00:35:25,840 Speaker 3: that company. 620 00:35:26,239 --> 00:35:27,080 Speaker 1: That's pretty cool. 621 00:35:27,719 --> 00:35:31,239 Speaker 3: And the disappointing thing about it is is that the 622 00:35:31,280 --> 00:35:38,480 Speaker 3: industry wants there to be one sound so anyone who's 623 00:35:38,520 --> 00:35:43,800 Speaker 3: hard of hearing knows immediately okay, that's an electric vehicle. 624 00:35:44,880 --> 00:35:45,759 Speaker 2: I didn't think about that. 625 00:35:45,920 --> 00:35:49,360 Speaker 4: Who wants this industry standards? 626 00:35:50,160 --> 00:35:55,040 Speaker 3: So whatever, you know, governing body controls these things. It's 627 00:35:55,120 --> 00:35:57,600 Speaker 3: much better to have one to rule them all. But 628 00:35:58,520 --> 00:36:01,319 Speaker 3: come on, we're humans. The branding things should have. 629 00:36:01,960 --> 00:36:05,200 Speaker 2: Not all cars sound the same, So exactly would TV 630 00:36:05,320 --> 00:36:06,200 Speaker 2: sound the same? Right? 631 00:36:06,520 --> 00:36:09,040 Speaker 3: Why don't you put a full exterior speaker array and 632 00:36:09,200 --> 00:36:11,359 Speaker 3: you can make your EV sound like whatever you want 633 00:36:11,680 --> 00:36:13,960 Speaker 3: you can make it sound like a Camaro. 634 00:36:14,040 --> 00:36:16,279 Speaker 2: You can make it so Tesla honking is like uh 635 00:36:17,719 --> 00:36:19,000 Speaker 2: parting noises or something like that. 636 00:36:20,920 --> 00:36:24,799 Speaker 3: Change the seems like it's a great future there. 637 00:36:24,840 --> 00:36:26,840 Speaker 1: You can make it sound like an RX seven that 638 00:36:27,040 --> 00:36:30,279 Speaker 1: sad day. But yeah, it's interesting because it sounds like. 639 00:36:30,760 --> 00:36:35,239 Speaker 1: You love imperfection in the sounds of the cars because 640 00:36:35,239 --> 00:36:38,399 Speaker 1: then it allows you to create a character and tell 641 00:36:38,440 --> 00:36:41,120 Speaker 1: the story and then break it up and match the 642 00:36:41,920 --> 00:36:44,920 Speaker 1: actor or the character that's playing, you know, or driving that. 643 00:36:45,000 --> 00:36:47,600 Speaker 2: Car in life. Though, I feel like people love imperfection, 644 00:36:48,280 --> 00:36:52,080 Speaker 2: you know, even like older cars, like I'll use I'm 645 00:36:52,120 --> 00:36:54,799 Speaker 2: using another Corvette example, We'll use anything like there'll be 646 00:36:55,480 --> 00:36:59,200 Speaker 2: a particular year that has the incorrect stitching or maybe 647 00:36:59,200 --> 00:37:03,239 Speaker 2: the leather was notorious for tearing somewhere in particular, and 648 00:37:03,280 --> 00:37:05,279 Speaker 2: then at the time people like, oh, that's the one 649 00:37:05,320 --> 00:37:08,480 Speaker 2: that you know had a defect of some sort. Then 650 00:37:08,520 --> 00:37:10,759 Speaker 2: fifty years go by and they're like, wow, that's the 651 00:37:10,800 --> 00:37:15,320 Speaker 2: one that had that famous defect. And people love having 652 00:37:15,320 --> 00:37:18,560 Speaker 2: that unique character on something. And same with acting, you 653 00:37:18,600 --> 00:37:21,120 Speaker 2: know the take where it didn't go perfectly, where you 654 00:37:21,160 --> 00:37:23,520 Speaker 2: had that moment where something happened where you can improv 655 00:37:23,920 --> 00:37:26,279 Speaker 2: It's almost like a blessing because you have something that 656 00:37:26,320 --> 00:37:30,720 Speaker 2: was unintended that ended up creating this unique not character 657 00:37:30,719 --> 00:37:33,400 Speaker 2: as in a person, but like a piece of something 658 00:37:33,480 --> 00:37:36,840 Speaker 2: that wasn't intended that keeps it raw and organic. 659 00:37:37,080 --> 00:37:40,200 Speaker 1: Pete, I want to ask this question earlier. You said, 660 00:37:40,239 --> 00:37:42,880 Speaker 1: you know, to be successful, you have to know who 661 00:37:42,960 --> 00:37:47,560 Speaker 1: you are. Right and now, as a older man that 662 00:37:47,760 --> 00:37:51,880 Speaker 1: has traveled this road a little longer than the younger folks, 663 00:37:52,120 --> 00:37:54,680 Speaker 1: if you were to give your younger self advice on 664 00:37:55,560 --> 00:37:59,279 Speaker 1: some shortcuts to find that, how did you discover or 665 00:37:59,320 --> 00:38:02,840 Speaker 1: how did you find who you are during your journey 666 00:38:02,880 --> 00:38:04,920 Speaker 1: of your life? And what advice would you give to 667 00:38:04,960 --> 00:38:08,480 Speaker 1: your younger self. Boy, that's a tough question. 668 00:38:08,600 --> 00:38:14,480 Speaker 3: It's a really tough question because I feel successful and 669 00:38:14,520 --> 00:38:20,640 Speaker 3: I feel blessed, and you know, I feel like most 670 00:38:20,680 --> 00:38:24,840 Speaker 3: of the reason that that happened was not really because 671 00:38:24,840 --> 00:38:28,440 Speaker 3: of something that I fought for or did. It's because 672 00:38:28,440 --> 00:38:30,680 Speaker 3: I had the greatest parents in the world. I mean, 673 00:38:30,719 --> 00:38:33,520 Speaker 3: I just I grew up in a home filled with 674 00:38:33,600 --> 00:38:37,719 Speaker 3: love and was told to, you know, surround yourself with 675 00:38:37,760 --> 00:38:41,080 Speaker 3: the best people possible, and you can do anything that 676 00:38:41,120 --> 00:38:42,120 Speaker 3: you want. 677 00:38:42,200 --> 00:38:43,840 Speaker 1: And you know, I don't. 678 00:38:43,719 --> 00:38:47,280 Speaker 3: Care what you are, just go and be you. That's 679 00:38:47,960 --> 00:38:51,000 Speaker 3: I think that's the best way. You know, the best 680 00:38:51,080 --> 00:38:53,880 Speaker 3: roads to success are often things that you have no 681 00:38:54,000 --> 00:38:58,600 Speaker 3: control over. You might be born, you know, unbelievably beautiful 682 00:38:58,880 --> 00:39:03,040 Speaker 3: and attractive, and it just opens all these doors for you. Yeah, 683 00:39:03,080 --> 00:39:05,480 Speaker 3: so that's a not useful answer. 684 00:39:07,280 --> 00:39:09,000 Speaker 2: Be born beautiful and attractive and. 685 00:39:09,000 --> 00:39:09,720 Speaker 1: Have great parents. 686 00:39:09,800 --> 00:39:14,239 Speaker 3: Yeah, great parents, great parents and trumps all that stuff. Sure, 687 00:39:14,320 --> 00:39:17,400 Speaker 3: sure you know. I've got two kids, one, you know, 688 00:39:17,520 --> 00:39:22,759 Speaker 3: nineteen and eighteen, and the I feel like the main 689 00:39:22,800 --> 00:39:26,960 Speaker 3: advice I give them is just to listen, you know, 690 00:39:27,560 --> 00:39:30,600 Speaker 3: listen to your heart or just know yourself, because everything 691 00:39:30,640 --> 00:39:34,920 Speaker 3: falls into place if you can keep from lying to yourself, 692 00:39:34,960 --> 00:39:38,680 Speaker 3: which is so easy to do, or or you know, 693 00:39:38,760 --> 00:39:41,520 Speaker 3: let somebody else's goal be your goal, or look at 694 00:39:41,560 --> 00:39:45,279 Speaker 3: somebody else where. Envy might be driving you, but I 695 00:39:45,360 --> 00:39:47,719 Speaker 3: just try to tell them to just really take a 696 00:39:47,920 --> 00:39:50,359 Speaker 3: take a second to think about what it is you 697 00:39:50,520 --> 00:39:54,240 Speaker 3: enjoy doing who you know, what process makes you feel 698 00:39:54,239 --> 00:39:55,759 Speaker 3: more like yourself, and pursue that. 699 00:39:55,880 --> 00:39:56,000 Speaker 2: Well. 700 00:39:56,040 --> 00:39:58,440 Speaker 1: The one thing I noticed about you because I you know, 701 00:39:58,480 --> 00:40:01,160 Speaker 1: when I meet people that are success fall that our 702 00:40:01,239 --> 00:40:04,919 Speaker 1: joy to be around and a joy to work with 703 00:40:05,160 --> 00:40:08,719 Speaker 1: and collaborate with, and I'm looking for traits to take 704 00:40:08,760 --> 00:40:12,120 Speaker 1: from them and learn from them. Right, And one thing 705 00:40:12,160 --> 00:40:14,680 Speaker 1: I noticed about you over the years since we've met, 706 00:40:15,160 --> 00:40:17,960 Speaker 1: which is like sixteen years ago now right, it's almost 707 00:40:18,000 --> 00:40:20,640 Speaker 1: two decades. Think about that, is that every time I 708 00:40:20,719 --> 00:40:23,840 Speaker 1: meet you where I see you, it's like you just 709 00:40:23,920 --> 00:40:26,560 Speaker 1: started this job, Like you're so excited about it, like 710 00:40:26,600 --> 00:40:30,360 Speaker 1: the passion has never dwinduled. Pete, Like, I don't know 711 00:40:30,400 --> 00:40:34,960 Speaker 1: if you like noticed that about yourself, but it's obvious 712 00:40:35,000 --> 00:40:37,000 Speaker 1: that you love what you do and it's like a 713 00:40:37,080 --> 00:40:40,080 Speaker 1: kid in a candy store and it's infectious it is 714 00:40:40,719 --> 00:40:43,440 Speaker 1: and you and you know, for the people listening, because 715 00:40:43,480 --> 00:40:45,960 Speaker 1: you know, I think if I were to talk to 716 00:40:46,000 --> 00:40:48,960 Speaker 1: my younger self and go, like, you know, you know, 717 00:40:49,160 --> 00:40:51,640 Speaker 1: are what are the secrets to making it? And it's 718 00:40:51,680 --> 00:40:55,160 Speaker 1: almost it's simple, but they're hard to do, you know. 719 00:40:55,280 --> 00:40:57,399 Speaker 1: And it's like the one thing the reason I ask 720 00:40:57,440 --> 00:41:00,239 Speaker 1: you this question. I asked you that question, was you know, 721 00:41:00,360 --> 00:41:03,800 Speaker 1: to be able to share, like, you know, the secrets 722 00:41:03,800 --> 00:41:07,080 Speaker 1: of your success. And it's something that is very very 723 00:41:07,239 --> 00:41:10,799 Speaker 1: like prominent with you is that you love what you do, 724 00:41:11,120 --> 00:41:13,800 Speaker 1: you know, and it's very obvious and hearing your origin 725 00:41:13,920 --> 00:41:16,719 Speaker 1: story of you've loved it since you discovered it in 726 00:41:16,760 --> 00:41:20,399 Speaker 1: film school, you know, at USC. So it really is 727 00:41:20,440 --> 00:41:23,759 Speaker 1: like a privilege to be around your Pete very kind, 728 00:41:23,840 --> 00:41:26,279 Speaker 1: it is so and thus that's why you're working on 729 00:41:26,760 --> 00:41:30,239 Speaker 1: some of the biggest movies in Hollywood. So it all correlates. 730 00:41:30,280 --> 00:41:30,440 Speaker 2: You know. 731 00:41:30,520 --> 00:41:32,200 Speaker 3: That was the best time I've had in radio in 732 00:41:32,200 --> 00:41:33,440 Speaker 3: a long time. Thanks time. 733 00:41:33,600 --> 00:41:36,600 Speaker 1: Well, Thank you Peter Brown for coming to talk with 734 00:41:36,680 --> 00:41:39,000 Speaker 1: us and you know, sharing your story. It was a 735 00:41:39,040 --> 00:41:42,000 Speaker 1: real privilege and treat to sit down with you and 736 00:41:42,280 --> 00:41:43,200 Speaker 1: learn a lot about you. 737 00:41:43,280 --> 00:41:45,000 Speaker 3: I had a great time. Thank you so much for 738 00:41:45,040 --> 00:41:45,799 Speaker 3: bringing me in here.