1 00:00:01,320 --> 00:00:04,240 Speaker 1: Welcome to Stuff you missed in History Class, A production 2 00:00:04,400 --> 00:00:14,440 Speaker 1: of iHeartRadio, Hello and Happy Friday. I'm Holly Fry and 3 00:00:14,520 --> 00:00:18,160 Speaker 1: I'm Tracy V. Wilson. We talked about the Fizzi Gallery, 4 00:00:18,560 --> 00:00:22,960 Speaker 1: uh huh, and a yuckie bombing and some painting, some painting, restoration. 5 00:00:24,079 --> 00:00:24,680 Speaker 2: Love all of it. 6 00:00:25,160 --> 00:00:27,600 Speaker 1: Yeah, you know what, we only talked about a minimal 7 00:00:27,600 --> 00:00:32,200 Speaker 1: amount because he's not really germane to this one. What Caravagio, Yeah, 8 00:00:32,280 --> 00:00:32,840 Speaker 1: only a little. 9 00:00:35,680 --> 00:00:36,239 Speaker 2: I love that. 10 00:00:36,200 --> 00:00:38,920 Speaker 1: Man's work, But like it was Sarah and de Blina 11 00:00:38,960 --> 00:00:41,800 Speaker 1: that did an episode on him, right, I think he 12 00:00:42,040 --> 00:00:44,760 Speaker 1: was a lot. I mean he was a lot. He 13 00:00:44,800 --> 00:00:47,960 Speaker 1: had a temper, just a temper temper. But what's really 14 00:00:47,960 --> 00:00:51,720 Speaker 1: interesting about that, and as it relates to Bartolomeo Manfredi 15 00:00:52,200 --> 00:00:55,800 Speaker 1: and other people that painted in the caravage Esque style, 16 00:00:56,480 --> 00:01:01,800 Speaker 1: is that the Kravashisti his followers couldn't really exist until 17 00:01:01,840 --> 00:01:07,880 Speaker 1: after he had left Rome, because he was apparently so 18 00:01:08,120 --> 00:01:11,400 Speaker 1: cantankerous about people trying to paint like him that they 19 00:01:11,480 --> 00:01:16,319 Speaker 1: probably all would have gotten in the crosshairs of his iron. 20 00:01:17,040 --> 00:01:20,440 Speaker 1: You know, he was a physically violent man, so they 21 00:01:20,480 --> 00:01:21,280 Speaker 1: couldn't have done it. 22 00:01:21,360 --> 00:01:22,680 Speaker 2: I just think that's interesting. 23 00:01:23,160 --> 00:01:33,399 Speaker 1: Yeah. Yeah. We were talking about at the end of 24 00:01:33,400 --> 00:01:38,280 Speaker 1: that episode Danielle Lippi, who did the amazing restoration on 25 00:01:38,360 --> 00:01:43,000 Speaker 1: the copiers, and in that interview that she gave with 26 00:01:43,200 --> 00:01:47,320 Speaker 1: Scala Archives in twenty twenty three, she made this statement. 27 00:01:47,360 --> 00:01:49,720 Speaker 1: It was not particularly germane to this episode, but I 28 00:01:49,800 --> 00:01:54,080 Speaker 1: really loved the mindset of it and I loved the 29 00:01:54,720 --> 00:01:59,800 Speaker 1: message of it because she said, like other professions, restoration 30 00:01:59,920 --> 00:02:03,080 Speaker 1: is the field where one cannot or should not feel 31 00:02:03,120 --> 00:02:06,520 Speaker 1: one has arrived. Each work of art is unique and 32 00:02:06,600 --> 00:02:10,120 Speaker 1: must be treated as such, depending on its creation technique, 33 00:02:10,120 --> 00:02:14,240 Speaker 1: its conservation conditions, and its problems intrinsic or due to 34 00:02:14,320 --> 00:02:19,440 Speaker 1: external causes. Materials and methods of intervention are constantly evolving. 35 00:02:19,960 --> 00:02:23,200 Speaker 1: Refresher courses should be followed each year, both regarding the 36 00:02:23,280 --> 00:02:26,880 Speaker 1: methods with the least environmental impact and above all, to 37 00:02:27,040 --> 00:02:29,560 Speaker 1: ensure the health of the operator. And I was like, 38 00:02:30,200 --> 00:02:33,440 Speaker 1: are you the best person on earth? Like She's just like, 39 00:02:33,600 --> 00:02:36,560 Speaker 1: don't rest on your laurels. Do you ever get cocky? 40 00:02:37,080 --> 00:02:40,640 Speaker 1: Keep learning, keep taking care of yourself and the earth. 41 00:02:40,639 --> 00:02:42,640 Speaker 1: And I'm like, what a great bunch of messages In 42 00:02:42,720 --> 00:02:45,600 Speaker 1: one quote. I was like, I think you ever anyway, 43 00:02:45,639 --> 00:02:49,239 Speaker 1: I just think that's amazing. She sounds amazing. Yeah, there 44 00:02:49,400 --> 00:02:55,120 Speaker 1: is also I didn't ever find any direct quotations of it, 45 00:02:55,480 --> 00:03:00,959 Speaker 1: any direct reference to it, etc. But I I really 46 00:03:01,040 --> 00:03:04,720 Speaker 1: feel like it seems obvious, but I want to point 47 00:03:04,760 --> 00:03:10,600 Speaker 1: it out that in the aftermath of the bombing, all 48 00:03:10,680 --> 00:03:14,680 Speaker 1: of those issues they were having with bureaucracy keeping them 49 00:03:14,720 --> 00:03:18,360 Speaker 1: from being able to like do basic updates to the 50 00:03:18,440 --> 00:03:22,280 Speaker 1: museum kind of fell away. So they got this like 51 00:03:22,520 --> 00:03:26,720 Speaker 1: post bureaucracy thing. That is exactly why they were able 52 00:03:26,800 --> 00:03:30,240 Speaker 1: to become a model for how you recover a museum 53 00:03:30,280 --> 00:03:34,000 Speaker 1: from a tragedy. Oh wow, when nobody's in the way anymore, 54 00:03:34,040 --> 00:03:36,160 Speaker 1: and they're like, yes, of course, do whatever it takes 55 00:03:36,200 --> 00:03:40,160 Speaker 1: to save the museum and restore pieces. And suddenly, like 56 00:03:41,080 --> 00:03:45,200 Speaker 1: the people who are actually like the conservators, the director 57 00:03:45,240 --> 00:03:48,240 Speaker 1: of the museum, when they're actually driving the bus decision wise, 58 00:03:48,960 --> 00:03:53,040 Speaker 1: everything got super efficient and like super quick but also 59 00:03:53,120 --> 00:03:56,200 Speaker 1: very careful. Like I'm just like, this is one of 60 00:03:56,240 --> 00:03:57,880 Speaker 1: those moments where you want to go, do you see 61 00:03:58,200 --> 00:04:00,720 Speaker 1: why sometimes bureaucracy is not great? Right? 62 00:04:01,040 --> 00:04:01,320 Speaker 2: Right? 63 00:04:01,600 --> 00:04:04,120 Speaker 1: The people that are in charge of these things should 64 00:04:04,160 --> 00:04:06,320 Speaker 1: actually be allowed to be in charge of these things 65 00:04:06,880 --> 00:04:10,040 Speaker 1: and who know what that job is more than like 66 00:04:10,160 --> 00:04:15,160 Speaker 1: some bureaucrat in Rome who didn't really understand how the 67 00:04:15,240 --> 00:04:17,680 Speaker 1: museum ran or what it actually needed. I'm like how 68 00:04:17,800 --> 00:04:22,479 Speaker 1: quickly they overcame these problems. I will say the Ufizi 69 00:04:22,520 --> 00:04:27,040 Speaker 1: is still very crowded. Yeah, we didn't go when we 70 00:04:27,080 --> 00:04:35,039 Speaker 1: went to Italy for history class. I see why. Yeah, 71 00:04:35,760 --> 00:04:38,880 Speaker 1: that description of what it was like to like have 72 00:04:38,920 --> 00:04:42,960 Speaker 1: to elbow your way through reminded me of when we 73 00:04:43,120 --> 00:04:47,520 Speaker 1: did go to Versailles when we were in Paris. Yeah, 74 00:04:48,120 --> 00:04:51,760 Speaker 1: that is the most crowded museum I have ever been to. 75 00:04:52,800 --> 00:04:53,000 Speaker 2: Yeah. 76 00:04:53,000 --> 00:04:56,839 Speaker 1: It was pretty intense, really packed in their shoulder to 77 00:04:56,880 --> 00:05:02,440 Speaker 1: shoulder and kind of shuffling along in a mass. Yeah, 78 00:05:02,520 --> 00:05:04,400 Speaker 1: trying not to think about what would happen if there 79 00:05:04,440 --> 00:05:07,080 Speaker 1: was an emergency and people needed to exit quickly. 80 00:05:07,520 --> 00:05:07,919 Speaker 2: Yeah. 81 00:05:08,480 --> 00:05:12,200 Speaker 1: Yeah, the Ufizi is. I don't want to say it's 82 00:05:12,200 --> 00:05:14,000 Speaker 1: as bad as versayes, because it isn't, but it is 83 00:05:14,040 --> 00:05:16,440 Speaker 1: a little like it in terms of how they have 84 00:05:17,920 --> 00:05:21,279 Speaker 1: kind of tried to solve the problem of crowd control, 85 00:05:21,320 --> 00:05:22,760 Speaker 1: which is that you know how when you go to 86 00:05:22,839 --> 00:05:26,560 Speaker 1: Versailles you're on a track, like you can't be like 87 00:05:26,760 --> 00:05:28,520 Speaker 1: I want to go back to the Hall of Mirrors. 88 00:05:28,520 --> 00:05:31,640 Speaker 1: It's like, no, no, you're bad. You go Forwards's that's 89 00:05:31,680 --> 00:05:34,280 Speaker 1: how it happens. And the Ufizi is kind of the same. 90 00:05:34,320 --> 00:05:40,200 Speaker 1: There's nobody stopping you from backtracking, but there really is 91 00:05:40,240 --> 00:05:42,800 Speaker 1: a path that they have laid out that they kind 92 00:05:42,839 --> 00:05:45,279 Speaker 1: of tell you is the optimal path to take. And 93 00:05:45,360 --> 00:05:49,640 Speaker 1: it's a little counterintuitive because you go all the way 94 00:05:49,720 --> 00:05:52,679 Speaker 1: up and then back down to the second floor. Okay, 95 00:05:52,760 --> 00:05:55,360 Speaker 1: you work your way from the top down, and then 96 00:05:55,400 --> 00:05:58,680 Speaker 1: if you're doing if you have tickets to go into 97 00:05:58,680 --> 00:06:02,159 Speaker 1: the Vasari Corridor, which we did, oh I'll tell you, 98 00:06:02,200 --> 00:06:04,839 Speaker 1: I had a wild experience doing that one. And I 99 00:06:04,880 --> 00:06:06,960 Speaker 1: don't want to put anybody on blast, but it was weird. 100 00:06:08,320 --> 00:06:10,320 Speaker 1: Then you have to like kind of backtrack a little 101 00:06:10,360 --> 00:06:12,839 Speaker 1: bit to get to the entry to the corridor because 102 00:06:12,839 --> 00:06:16,000 Speaker 1: it's it's over near. It's on the same floor as 103 00:06:16,040 --> 00:06:19,680 Speaker 1: like what I was after, which was the Artemisia Gentiliski. 104 00:06:20,320 --> 00:06:23,080 Speaker 2: Oh yeah, jus Judas beheading Halo fair Nase. 105 00:06:23,320 --> 00:06:25,720 Speaker 1: But even so it is it is quite crowded, but 106 00:06:25,800 --> 00:06:28,520 Speaker 1: not as bad as Versai, and it is a beautiful 107 00:06:28,600 --> 00:06:31,360 Speaker 1: museum on the inside. In particular, like it's a cool 108 00:06:31,400 --> 00:06:34,279 Speaker 1: building from the outside, but on the inside, like the 109 00:06:34,400 --> 00:06:39,440 Speaker 1: decor is like gorgeous, and some of the rooms that 110 00:06:39,640 --> 00:06:42,240 Speaker 1: you can see black and white photos of the explosion, 111 00:06:42,400 --> 00:06:45,159 Speaker 1: like they do not do the decor of those rooms justice, 112 00:06:45,839 --> 00:06:48,360 Speaker 1: pretending you're not looking at rubble. Like the colors are 113 00:06:48,400 --> 00:06:51,960 Speaker 1: like these beautiful candy colors and they're absolutely gorgeous, and 114 00:06:52,000 --> 00:06:57,240 Speaker 1: everything is just beautiful. Vasari Corridor. M So this is 115 00:06:57,279 --> 00:06:59,640 Speaker 1: another one where it's like they only take a limited 116 00:06:59,680 --> 00:07:04,960 Speaker 1: number of people. You have a guide in front of 117 00:07:05,000 --> 00:07:07,240 Speaker 1: you and another at the back to kind of make 118 00:07:07,279 --> 00:07:08,480 Speaker 1: sure nobody straggles. 119 00:07:08,640 --> 00:07:09,039 Speaker 2: MMMM. 120 00:07:09,400 --> 00:07:12,640 Speaker 1: So your group kind of has to stay together. And 121 00:07:12,680 --> 00:07:14,520 Speaker 1: the man that was in the front of our group 122 00:07:14,600 --> 00:07:17,280 Speaker 1: that was doing the talking, and he's not talking a lot. 123 00:07:17,360 --> 00:07:19,520 Speaker 1: He's not like pointing out art. He's just like basically 124 00:07:19,560 --> 00:07:22,120 Speaker 1: stopping and saying like, here's what we're doing next, here's 125 00:07:22,120 --> 00:07:24,560 Speaker 1: what we're doing next. Occasionally he'll stop and say like 126 00:07:24,600 --> 00:07:26,960 Speaker 1: here's the room we're going or whatever. But he had 127 00:07:27,000 --> 00:07:30,960 Speaker 1: this very low, very resonant voice, and it was in 128 00:07:31,000 --> 00:07:34,440 Speaker 1: a way that would not carry oh in all directions, 129 00:07:34,760 --> 00:07:37,640 Speaker 1: so I couldn't hear him. Several of us couldn't hear 130 00:07:37,720 --> 00:07:40,280 Speaker 1: or understand him because it was like, because it was 131 00:07:40,320 --> 00:07:42,920 Speaker 1: so low, any of the plosives were kind of getting 132 00:07:42,960 --> 00:07:46,400 Speaker 1: clipped out, and you just heard like this beautiful wave 133 00:07:46,440 --> 00:07:48,960 Speaker 1: of sound. But I couldn't tell if he was giving 134 00:07:48,960 --> 00:07:52,000 Speaker 1: this important information. And I had kind of leaned forward 135 00:07:52,080 --> 00:07:54,200 Speaker 1: and he had looked at me and said, do you understand? 136 00:07:54,240 --> 00:07:57,080 Speaker 1: And I was like, what, You're a little hard to hear. 137 00:07:57,160 --> 00:08:00,600 Speaker 1: Your voice is so resonant. But after that, like, I 138 00:08:00,680 --> 00:08:04,240 Speaker 1: apparently flagged myself as the stupidest person on earth, because 139 00:08:04,680 --> 00:08:07,040 Speaker 1: every time we stopped, he would talk to the group 140 00:08:07,080 --> 00:08:08,560 Speaker 1: and then he would come over to me and get 141 00:08:08,600 --> 00:08:11,280 Speaker 1: in my face and go, did you understand? And I 142 00:08:11,360 --> 00:08:14,720 Speaker 1: was like, oh, my goodness, I'm mortified. I was like, down, 143 00:08:14,800 --> 00:08:19,000 Speaker 1: he thinks I'm the dumb dumb look. It was a 144 00:08:19,000 --> 00:08:21,440 Speaker 1: little weird, it was a little aggressive, but it was 145 00:08:21,480 --> 00:08:23,560 Speaker 1: also very funny after the fact. 146 00:08:23,840 --> 00:08:24,560 Speaker 2: Yeah, this is. 147 00:08:24,520 --> 00:08:27,560 Speaker 1: Why I've really come to love the little whisper devices 148 00:08:27,600 --> 00:08:30,160 Speaker 1: that we have on We've had on all of our 149 00:08:30,200 --> 00:08:31,000 Speaker 1: trips that we've done. 150 00:08:31,040 --> 00:08:32,360 Speaker 2: For the part, I don't have them. 151 00:08:32,200 --> 00:08:36,120 Speaker 1: For that, yeah, but I'm assuming that if they did 152 00:08:36,120 --> 00:08:37,600 Speaker 1: have them for that, you would have used them, but 153 00:08:37,679 --> 00:08:40,760 Speaker 1: like they're the little devices where the person guiding can 154 00:08:40,800 --> 00:08:46,000 Speaker 1: talk at a typical volume and ideally a little microphone 155 00:08:46,040 --> 00:08:48,079 Speaker 1: picks it up and broadcasts it to everybody else. And 156 00:08:48,120 --> 00:08:51,960 Speaker 1: it's like we have had technical issues with them on 157 00:08:52,440 --> 00:08:54,719 Speaker 1: at different points on a number of trips, but like 158 00:08:54,760 --> 00:08:58,960 Speaker 1: there it still makes it so much easier to hear yeah, 159 00:08:59,000 --> 00:09:02,800 Speaker 1: what is being said, and also without disrupting things for 160 00:09:02,960 --> 00:09:05,040 Speaker 1: other people around who are not on your tour. 161 00:09:06,120 --> 00:09:06,480 Speaker 2: Yeah. 162 00:09:06,600 --> 00:09:08,840 Speaker 1: Yeah, in that case, there's nobody else around because it's 163 00:09:08,920 --> 00:09:11,440 Speaker 1: just your group in the corridor, right. I would also 164 00:09:11,520 --> 00:09:14,760 Speaker 1: be very embarrassed. I'm sure after we left he was like, man, 165 00:09:14,800 --> 00:09:16,719 Speaker 1: that lady with the purple hair was as dumb as 166 00:09:16,760 --> 00:09:19,680 Speaker 1: can be. Just the stupidest person I've ever encountered. Can't 167 00:09:19,720 --> 00:09:22,320 Speaker 1: understand a word I said. It was just it was 168 00:09:22,440 --> 00:09:24,800 Speaker 1: very funny. It was very funny after the fact, and 169 00:09:24,840 --> 00:09:27,440 Speaker 1: then we had a lovely meal and a waiter wanted 170 00:09:27,480 --> 00:09:28,400 Speaker 1: to compare tattoos. 171 00:09:28,400 --> 00:09:30,959 Speaker 2: It was great. It was the best. Yeah, the ifisi 172 00:09:31,080 --> 00:09:31,600 Speaker 2: is beautiful. 173 00:09:31,640 --> 00:09:33,640 Speaker 1: I see why that was not a thing that got 174 00:09:33,679 --> 00:09:36,800 Speaker 1: picked on our trip to do because it is very crowded. 175 00:09:36,840 --> 00:09:37,400 Speaker 2: It's hard. 176 00:09:37,480 --> 00:09:40,120 Speaker 1: There are some groups that go through there, but they 177 00:09:40,120 --> 00:09:44,280 Speaker 1: are struggling, like h it's hard to keep everybody together, 178 00:09:44,320 --> 00:09:46,080 Speaker 1: and with a group the size of ours, it would 179 00:09:46,080 --> 00:09:49,320 Speaker 1: have been very difficult. Yeah, a little maddening, I think so. 180 00:09:49,400 --> 00:09:51,680 Speaker 1: I think that probably was what led to that decision. 181 00:09:51,840 --> 00:09:53,400 Speaker 1: But I want to go back there a million times 182 00:09:53,440 --> 00:09:56,880 Speaker 1: because it's beautiful. I mean, all Florence is beautiful. Florence 183 00:09:56,960 --> 00:09:59,160 Speaker 1: is so walkable. There's so many cool things you can 184 00:09:59,200 --> 00:10:02,120 Speaker 1: go visit without having to ever get in a car, right, 185 00:10:02,720 --> 00:10:05,480 Speaker 1: you know. We went to Michelangelo's tomb, we went to 186 00:10:05,679 --> 00:10:08,640 Speaker 1: I think I mentioned before. We went to the Borgello, 187 00:10:08,679 --> 00:10:10,360 Speaker 1: which was right across the street from where we stayed, 188 00:10:10,360 --> 00:10:12,360 Speaker 1: which is an incredible museum. 189 00:10:12,400 --> 00:10:15,000 Speaker 2: Just a million cool places that are gorgeous. And I 190 00:10:15,200 --> 00:10:16,520 Speaker 2: really like Florence a bunch. 191 00:10:16,800 --> 00:10:18,560 Speaker 1: I love not having to get in a car. 192 00:10:19,080 --> 00:10:19,600 Speaker 2: I do too. 193 00:10:19,720 --> 00:10:22,680 Speaker 1: We also got a car service for every transfer we 194 00:10:22,720 --> 00:10:24,480 Speaker 1: had to do while we were there, which was funny 195 00:10:24,480 --> 00:10:27,760 Speaker 1: because in Rome, our hotel staff, which who were amazing, 196 00:10:28,720 --> 00:10:30,160 Speaker 1: they had said like, do you need us to call 197 00:10:30,200 --> 00:10:31,560 Speaker 1: you a car for I think we had to go 198 00:10:31,559 --> 00:10:33,319 Speaker 1: to the train station. We're like, no, no, no, we already 199 00:10:33,360 --> 00:10:35,080 Speaker 1: have a car coming. And they were like, oh, what 200 00:10:35,200 --> 00:10:36,760 Speaker 1: service did you use? And we told them and they 201 00:10:36,760 --> 00:10:38,880 Speaker 1: were like, did they overcharge you? And I was like, 202 00:10:38,920 --> 00:10:41,760 Speaker 1: I don't even care because they take care of everything. 203 00:10:41,880 --> 00:10:45,000 Speaker 1: They literally come into the hotel and get your bags 204 00:10:45,000 --> 00:10:48,280 Speaker 1: and put them in the car for you, and like, oh, yeah, 205 00:10:48,559 --> 00:10:51,680 Speaker 1: worth every penny. It's the best, the best. Because I 206 00:10:51,679 --> 00:10:53,560 Speaker 1: didn't want to figure it out. I have friends that 207 00:10:53,559 --> 00:10:58,880 Speaker 1: are there right now who drove themselves from Florence to Rome, 208 00:10:58,920 --> 00:11:00,719 Speaker 1: which sounds slightly too terrifying to me. 209 00:11:01,160 --> 00:11:02,679 Speaker 2: Yeah, just because. 210 00:11:02,440 --> 00:11:07,240 Speaker 1: It's a hard drive. Italian driving practices are not the 211 00:11:07,280 --> 00:11:11,000 Speaker 1: same as here, like the attitude about driving. So my 212 00:11:11,160 --> 00:11:12,720 Speaker 1: hat is off to my friend who drove that. 213 00:11:13,559 --> 00:11:14,199 Speaker 2: But it's cool. 214 00:11:15,280 --> 00:11:17,760 Speaker 1: The last thing I actually wanted to say, which kind 215 00:11:17,800 --> 00:11:19,840 Speaker 1: of hit my heart in all of this, there's a 216 00:11:20,080 --> 00:11:24,520 Speaker 1: unique thing that had me thinking about Bartolomeo ment Freddy, 217 00:11:25,640 --> 00:11:28,760 Speaker 1: which is that we don't know much about his life, 218 00:11:29,679 --> 00:11:32,360 Speaker 1: as we said at the top of the episode, and 219 00:11:33,559 --> 00:11:36,680 Speaker 1: reading about the way his work had to be pieced 220 00:11:36,720 --> 00:11:39,920 Speaker 1: together by Lippy and her team made me think about 221 00:11:39,960 --> 00:11:41,800 Speaker 1: the way his life has had to be pieced together 222 00:11:41,840 --> 00:11:45,440 Speaker 1: by biographers, and I was like, what a weird parallel 223 00:11:45,520 --> 00:11:48,280 Speaker 1: that his art got destroyed in this way, just as 224 00:11:48,440 --> 00:11:51,000 Speaker 1: the same way records of his life have, you know, 225 00:11:51,120 --> 00:11:54,240 Speaker 1: not survived or whatever, and we've had to We're just 226 00:11:54,320 --> 00:11:56,400 Speaker 1: trying to like put together who we think he was 227 00:11:56,520 --> 00:11:59,600 Speaker 1: and what exactly this art should look like. And I 228 00:11:59,600 --> 00:12:02,959 Speaker 1: don't know, just struck me as interesting. Yeah, art, talk 229 00:12:03,000 --> 00:12:03,640 Speaker 1: about it forever. 230 00:12:03,720 --> 00:12:05,920 Speaker 2: I have a problem. I do not wish to seek 231 00:12:05,960 --> 00:12:07,199 Speaker 2: treatment for my art addiction. 232 00:12:07,520 --> 00:12:13,200 Speaker 1: I'll go stand in cry in a museum all day long. 233 00:12:13,280 --> 00:12:17,040 Speaker 1: I'm sure everybody in Italy thinks I have emotional stability 234 00:12:17,080 --> 00:12:29,560 Speaker 1: issues because I cried art like nobody's business. I got 235 00:12:29,600 --> 00:12:33,080 Speaker 1: to talk to Leslie Eyeworks this week. You did a dream? 236 00:12:33,400 --> 00:12:34,600 Speaker 2: Yay a dream? 237 00:12:34,880 --> 00:12:37,680 Speaker 1: I mean, I really she is somebody whose work I 238 00:12:37,679 --> 00:12:39,640 Speaker 1: have admired so much. We talked a lot about her 239 00:12:39,720 --> 00:12:43,920 Speaker 1: various documentaries. The one that she did about her grandfather 240 00:12:44,160 --> 00:12:47,160 Speaker 1: that was her first film about I works was like 241 00:12:47,480 --> 00:12:49,199 Speaker 1: the first time I saw it, I was just blown 242 00:12:49,200 --> 00:12:51,680 Speaker 1: away by how good it was, so I'm not surprised. 243 00:12:51,679 --> 00:12:54,400 Speaker 1: She mentioned in that interview how other people were also 244 00:12:54,400 --> 00:12:56,480 Speaker 1: blown away. And it went from kind of a small 245 00:12:56,480 --> 00:12:59,600 Speaker 1: project to a bigger project, which is terrific. This is 246 00:12:59,600 --> 00:13:03,360 Speaker 1: funny because we talked a lot when we were talking 247 00:13:03,360 --> 00:13:07,160 Speaker 1: about our Haunted Mansion episodes. In those episodes, we talked 248 00:13:07,200 --> 00:13:13,320 Speaker 1: a lot about how difficult the opening of Disneyland was 249 00:13:13,640 --> 00:13:16,800 Speaker 1: and how right up to the last minute they were 250 00:13:16,840 --> 00:13:19,880 Speaker 1: working and some of the work was, you know, literally 251 00:13:19,920 --> 00:13:22,000 Speaker 1: being finished while people were walking through the gates, and 252 00:13:22,000 --> 00:13:27,280 Speaker 1: how the asphalt hadn't solidified yet. And it's one thing 253 00:13:27,320 --> 00:13:29,559 Speaker 1: to talk about all of that, but then to see 254 00:13:29,920 --> 00:13:36,959 Speaker 1: all of the video that was shot was amazing and terrifying. 255 00:13:37,040 --> 00:13:40,640 Speaker 1: I mean it literally, like if you are a person 256 00:13:40,679 --> 00:13:45,079 Speaker 1: who is deadline driven and you know, like a project 257 00:13:45,240 --> 00:13:50,960 Speaker 1: management type person, it's got to be so scary because 258 00:13:51,000 --> 00:13:57,240 Speaker 1: it's all just there's a shocking amount of working on vibes, right. 259 00:13:57,320 --> 00:13:59,600 Speaker 1: We didn't we didn't talk about it in my interview 260 00:13:59,679 --> 00:14:01,760 Speaker 1: very much with Leslie because there was only so much time. 261 00:14:01,800 --> 00:14:05,000 Speaker 1: But like, one of the things that really jumped out 262 00:14:05,040 --> 00:14:07,400 Speaker 1: to me was the I mean, we did talk about 263 00:14:07,440 --> 00:14:09,320 Speaker 1: how there were only like ten percent of the plans 264 00:14:09,320 --> 00:14:11,880 Speaker 1: in place when they started on the park, But one 265 00:14:11,880 --> 00:14:13,320 Speaker 1: of the things that jumped out to me, and they 266 00:14:13,360 --> 00:14:16,000 Speaker 1: talk about it in the film, that comes up in 267 00:14:16,679 --> 00:14:21,040 Speaker 1: the discussion, is that they weren't always working off of 268 00:14:21,120 --> 00:14:25,040 Speaker 1: specific plans. In some cases, right, there was a lot 269 00:14:25,080 --> 00:14:31,800 Speaker 1: of here's what I want, and then the incredibly talented 270 00:14:31,840 --> 00:14:34,760 Speaker 1: and skilled workmen would just kind of be like, all right, 271 00:14:34,800 --> 00:14:39,120 Speaker 1: I guess we'll figure out how to make that. There 272 00:14:39,360 --> 00:14:42,760 Speaker 1: wasn't a lot of documentation of how they were doing 273 00:14:42,760 --> 00:14:45,160 Speaker 1: it because they were making it up as they went along, 274 00:14:45,400 --> 00:14:48,320 Speaker 1: which sounds slapdash, but also like these are people who 275 00:14:48,360 --> 00:14:52,320 Speaker 1: were very dedicated to it, very hard working. You can 276 00:14:52,400 --> 00:14:54,680 Speaker 1: tell in that footage like some of those people are 277 00:14:54,720 --> 00:14:59,240 Speaker 1: just really busting out work at an incredible rate and 278 00:14:59,320 --> 00:15:02,160 Speaker 1: an incredible lia little quality. But it was just like 279 00:15:02,200 --> 00:15:05,960 Speaker 1: this is this could never happen again, right, right, or 280 00:15:06,000 --> 00:15:08,720 Speaker 1: the odds are very long, right to put enough money 281 00:15:08,760 --> 00:15:12,560 Speaker 1: behind a project like that where you're kind of just 282 00:15:12,640 --> 00:15:17,960 Speaker 1: trusting the people involved, but also like bearing the burden 283 00:15:18,000 --> 00:15:20,160 Speaker 1: of if it's a failure, it's all on you. Like nobody, 284 00:15:20,400 --> 00:15:22,440 Speaker 1: very few people are would be willing to do such 285 00:15:22,480 --> 00:15:26,640 Speaker 1: a thing. It's astonishing kind of inspiring. One of the 286 00:15:26,680 --> 00:15:30,440 Speaker 1: other things that I really did like about it about 287 00:15:30,440 --> 00:15:33,880 Speaker 1: this film, and I hope everybody watches it because it's 288 00:15:33,920 --> 00:15:36,480 Speaker 1: just an eye opener in a variety of ways. About 289 00:15:36,680 --> 00:15:40,160 Speaker 1: you know what projects like that take like dream projects, 290 00:15:40,200 --> 00:15:45,800 Speaker 1: but it really does not pull punches about the fact that, 291 00:15:45,880 --> 00:15:49,680 Speaker 1: like everybody was not happy all the time, and everybody 292 00:15:49,800 --> 00:15:52,760 Speaker 1: was not like Walt is the best. Some people were like, 293 00:15:52,880 --> 00:15:55,280 Speaker 1: Walt is writing us way too hard, we don't know 294 00:15:55,320 --> 00:15:58,080 Speaker 1: what we're doing. Yeah, we're exhausted and freaking out. 295 00:15:58,520 --> 00:15:59,240 Speaker 2: Now they did. 296 00:15:59,120 --> 00:16:03,840 Speaker 1: Pull it off, right, There's always that thing. There's you'll 297 00:16:03,880 --> 00:16:06,600 Speaker 1: hear like both sides of that coin. Sometimes if you 298 00:16:06,640 --> 00:16:10,600 Speaker 1: do a lot of reading of Disney history and Park's 299 00:16:10,600 --> 00:16:14,760 Speaker 1: history in particular, that like, on the one hand, there 300 00:16:14,760 --> 00:16:16,960 Speaker 1: are people who are like, you know, Walt would just 301 00:16:17,040 --> 00:16:19,160 Speaker 1: see things in people and he would trust that they 302 00:16:19,200 --> 00:16:21,640 Speaker 1: could do what he needed them to do, and so 303 00:16:21,720 --> 00:16:23,280 Speaker 1: he would ask them to do it even if they 304 00:16:23,320 --> 00:16:25,760 Speaker 1: didn't believe they could, which is kind of a great 305 00:16:25,800 --> 00:16:28,800 Speaker 1: thing in some ways, right, But then this also shows 306 00:16:28,800 --> 00:16:31,800 Speaker 1: the light people going, we don't we're so tired, we 307 00:16:31,840 --> 00:16:33,840 Speaker 1: don't know what we're doing. Please let us we're asking 308 00:16:33,880 --> 00:16:38,360 Speaker 1: so much all the time, Yeah, which is just interesting. Also, 309 00:16:38,480 --> 00:16:42,280 Speaker 1: what a good bit of fortune that he did hire 310 00:16:43,200 --> 00:16:48,000 Speaker 1: camera crews to document the entire thing, But then all 311 00:16:48,000 --> 00:16:51,880 Speaker 1: that footage until this well one of Leslie's earlier projects 312 00:16:51,920 --> 00:16:53,960 Speaker 1: uses some of it, but that foot has just sat 313 00:16:54,000 --> 00:16:57,440 Speaker 1: around for decades unused, and now like we finally all 314 00:16:57,480 --> 00:17:00,520 Speaker 1: get to watch these people carve you know, tea little 315 00:17:00,520 --> 00:17:05,440 Speaker 1: lines in various pieces of faux you know, European brickwork 316 00:17:05,480 --> 00:17:05,840 Speaker 1: and stuff. 317 00:17:05,880 --> 00:17:06,639 Speaker 2: And it's just sure. 318 00:17:06,760 --> 00:17:08,640 Speaker 1: I could watch that stuff all day long. I could 319 00:17:08,640 --> 00:17:12,520 Speaker 1: watch it all day long. It's fascinating. And now the 320 00:17:12,600 --> 00:17:17,000 Speaker 1: parks are everywhere and huge and entire giant teams and 321 00:17:18,240 --> 00:17:24,560 Speaker 1: building codes, building codes, building codes. I did have a 322 00:17:24,640 --> 00:17:26,520 Speaker 1: wonder and I don't want to speculate too much because 323 00:17:26,560 --> 00:17:29,560 Speaker 1: I don't know, but for anybody in our audience that 324 00:17:29,680 --> 00:17:33,800 Speaker 1: doesn't now, who isn't a giant Star Wars nerd like myself. 325 00:17:35,119 --> 00:17:36,320 Speaker 2: It has been in the news the. 326 00:17:36,320 --> 00:17:40,960 Speaker 1: Disneyland's approach to Galaxy's Edge, which is the Star Wars 327 00:17:41,040 --> 00:17:44,720 Speaker 1: section of Disneyland, is changing a little bit in terms 328 00:17:44,760 --> 00:17:47,639 Speaker 1: of like what on the Star Wars timeline can be 329 00:17:47,760 --> 00:17:49,800 Speaker 1: in the park. And one of the things that happened 330 00:17:49,840 --> 00:17:51,560 Speaker 1: in that changeover, and I won't get into that. 331 00:17:51,480 --> 00:17:53,159 Speaker 2: Because that is a whole discussion. 332 00:17:53,600 --> 00:17:56,800 Speaker 1: Listen, there's a lot of I've talked about it a lot, 333 00:17:56,880 --> 00:18:00,760 Speaker 1: very but they're One of the things said happened is 334 00:18:00,760 --> 00:18:06,479 Speaker 1: that Ogu's Cantina closed there in Disneyland for a while 335 00:18:06,600 --> 00:18:09,399 Speaker 1: and then reopened, and we were all like, I wonder, 336 00:18:09,520 --> 00:18:12,200 Speaker 1: is it getting a makeover? Is this changing? There were 337 00:18:12,280 --> 00:18:16,120 Speaker 1: some speculation on my part certainly and others about things 338 00:18:16,200 --> 00:18:19,040 Speaker 1: in the cantina. I'm trying to talk about this generally 339 00:18:19,040 --> 00:18:21,560 Speaker 1: without getting in the weeds. Hard for me because I'm 340 00:18:21,560 --> 00:18:22,720 Speaker 1: like everybody knows this. 341 00:18:22,800 --> 00:18:24,520 Speaker 2: They don't. I understand, I'm the weirdo. 342 00:18:24,760 --> 00:18:26,240 Speaker 1: But we thought there were things that were gonna have 343 00:18:26,240 --> 00:18:29,800 Speaker 1: to change within the cantena to address this shift, and 344 00:18:29,920 --> 00:18:33,199 Speaker 1: like how they were managing timeline. But in fact, like 345 00:18:33,280 --> 00:18:35,920 Speaker 1: Brian and I were out there at the beginning of April, 346 00:18:35,960 --> 00:18:39,639 Speaker 1: which was after it had reopened, and we went and 347 00:18:39,680 --> 00:18:44,040 Speaker 1: we didn't notice anything. If there are changes, they're subtle. 348 00:18:44,359 --> 00:18:46,879 Speaker 1: But it made me wonder if some of that wasn't 349 00:18:47,840 --> 00:18:50,840 Speaker 1: circling back. I did have a point to code. I 350 00:18:50,880 --> 00:18:53,119 Speaker 1: don't think I was ever not to code, but I 351 00:18:53,160 --> 00:18:57,280 Speaker 1: do think there were elements of their infrastructure that might 352 00:18:57,280 --> 00:19:00,320 Speaker 1: have needed updating in terms of like they're electrical and stuff. 353 00:19:00,840 --> 00:19:03,800 Speaker 1: Not necessarily because there's any danger, but just to meet 354 00:19:03,840 --> 00:19:06,919 Speaker 1: the needs of like modern machinery that gets used in 355 00:19:06,960 --> 00:19:10,160 Speaker 1: places like that. Right, Anyway, that's strictly speculation on my part. 356 00:19:10,200 --> 00:19:13,200 Speaker 1: I don't know what I'm talking about. I'm I'm guessing. 357 00:19:13,200 --> 00:19:15,240 Speaker 1: I'm playing a guessing game. So don't anybody think I 358 00:19:15,320 --> 00:19:19,320 Speaker 1: just told you some big piece, right, But I sure 359 00:19:19,400 --> 00:19:26,040 Speaker 1: love Ogus and I love Disneyland disney World. Disney World 360 00:19:26,080 --> 00:19:27,840 Speaker 1: is our close ones, so it feels like home to me. 361 00:19:28,200 --> 00:19:32,360 Speaker 1: Disneyland feels like an adventure, even though it's a much 362 00:19:32,920 --> 00:19:38,520 Speaker 1: smaller footprint andier to traverse. You know, We've talked about 363 00:19:38,560 --> 00:19:41,640 Speaker 1: this as well, Like if you're in disney World, it's 364 00:19:41,720 --> 00:19:42,399 Speaker 1: four parks. 365 00:19:42,480 --> 00:19:43,040 Speaker 2: It's huge. 366 00:19:43,080 --> 00:19:44,959 Speaker 1: You have to bust between the parks if you're going 367 00:19:45,040 --> 00:19:47,720 Speaker 1: to go to more than one park in a day. 368 00:19:48,359 --> 00:19:50,639 Speaker 1: Disneyland you just walk back and forth across the plaza 369 00:19:50,640 --> 00:19:51,080 Speaker 1: if you want to. 370 00:19:51,080 --> 00:19:54,280 Speaker 2: Go to the other. It feels so tiny to me 371 00:19:54,320 --> 00:19:54,879 Speaker 2: in that, right. 372 00:19:55,359 --> 00:20:02,440 Speaker 1: Both fun both great, different different adventures. Yeah, pros and cons, right. 373 00:20:02,520 --> 00:20:05,600 Speaker 1: I like the bubble of the big property. I like 374 00:20:06,359 --> 00:20:10,160 Speaker 1: knowing that I am in Disney at all times, whereas 375 00:20:10,240 --> 00:20:11,879 Speaker 1: like in Anaheim, you can just walk out on the 376 00:20:11,880 --> 00:20:15,760 Speaker 1: street and you're just in Anaheim, m less bubbling, all. 377 00:20:15,640 --> 00:20:16,840 Speaker 2: Good, well good. 378 00:20:17,440 --> 00:20:20,280 Speaker 1: In any case, if this is your weekend coming up, 379 00:20:21,160 --> 00:20:23,600 Speaker 1: I hope that you get time to go to an 380 00:20:23,640 --> 00:20:27,320 Speaker 1: amusement park, to watch a movie you like, maybe watch 381 00:20:27,359 --> 00:20:30,040 Speaker 1: a good documentary I know one to recommend, or just 382 00:20:30,160 --> 00:20:34,840 Speaker 1: you know, engage with whatever ignites your creativity or your 383 00:20:34,840 --> 00:20:38,920 Speaker 1: imagination or your inner spark, or just makes you feel peaceful. 384 00:20:38,960 --> 00:20:40,080 Speaker 1: That is also valuable. 385 00:20:40,400 --> 00:20:41,320 Speaker 2: I hope that. 386 00:20:41,640 --> 00:20:45,000 Speaker 1: You get time to hang and relax. Even if you 387 00:20:45,119 --> 00:20:47,080 Speaker 1: don't have time off the next couple of days, I 388 00:20:47,119 --> 00:20:49,399 Speaker 1: still hope you get time to hang and relax and 389 00:20:49,440 --> 00:20:51,720 Speaker 1: that you do something really nice and maybe a little 390 00:20:51,720 --> 00:20:55,639 Speaker 1: indulgent for yourself, because that's the good stuff. That's what 391 00:20:55,680 --> 00:21:00,240 Speaker 1: life is about. Find your joy wherever you Can'll be 392 00:21:00,320 --> 00:21:02,600 Speaker 1: back on Monday with a brand new episode. 393 00:21:03,280 --> 00:21:05,520 Speaker 2: We will also be back tomorrow with a. 394 00:21:05,440 --> 00:21:13,160 Speaker 1: Classic Stuff you missed in History Class is a production 395 00:21:13,280 --> 00:21:18,120 Speaker 1: of iHeartRadio. For more podcasts from iHeartRadio, visit the iHeartRadio app, 396 00:21:18,240 --> 00:21:21,440 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.