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Speaker 1: Hey, everybody, it's Josh. For this week's select, I've chosen

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Speaker 1: our episode on Special Effects from September twenty nineteen. It's

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Speaker 1: just a nice, straight ahead sysk app from Chuck the

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Speaker 1: Grabster and me. If you're into movies, this is gonna

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Speaker 1: be a good one for you, so enjoy.

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Speaker 2: Welcome to Stuff you should Know, a production of iHeartRadio.

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Speaker 1: Hey, and welcome to the podcast. I'm Josh Clark. There's

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Speaker 1: Charles w Chuck Bryant wearing his Stone Temple Pilot's hat,

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Speaker 1: and there's Jerry over there. She's not wearing any hat.

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Speaker 1: She's got really cool hair.

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Speaker 2: It's not Stone Temple Pilots.

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Speaker 1: It is too. I've seen the Stone Temple Pilots hats

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Speaker 1: before and that's.

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Speaker 2: What it is. STP. Because I bought two hats at

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Speaker 2: AutoZone yesterday.

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Speaker 1: I have a Champion spark Plug hat.

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Speaker 2: Yeah.

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Speaker 1: They have good hats, they really do.

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Speaker 2: I was getting a battery and I was like, oh,

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Speaker 2: on these two hats. It was a good Year you're

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Speaker 2: in Ohio Goodyear hat nice, which is where Emily's from. Sure,

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Speaker 2: so I wanted that, and then I saw this STP.

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Speaker 1: Hat Stone Temple Pilot.

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Speaker 2: But I would get a Champion spark plug hat too.

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Speaker 2: Those are that's great.

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Speaker 1: Okay, I'll let you borrow mine anytime you want. I

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Speaker 1: just got to give it back.

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Speaker 2: I don't know if I've ever seen you in a

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Speaker 2: baseball cap.

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Speaker 1: It's a weird jam, is it now? What you want

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Speaker 1: to see?

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Speaker 2: I've seen you in shorts like twice in twelve years.

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Speaker 1: I keep the legs covered.

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Speaker 2: And I think one of them was when you came

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Speaker 2: over to borrow my lawnmower. I remember that, Yeah, like

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Speaker 2: nine years ago.

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Speaker 1: Sure, I've got to mow the lawn sometimes.

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Speaker 2: Now things have changed. You can buy a lawnmower. Yeah,

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Speaker 2: and now we can afford lawnmowers.

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Speaker 1: I can wear shorts too. I actually have one of

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Speaker 1: those plugin lawnmowers.

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Speaker 2: I have a battery power lawnmower. Dude, look at us,

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Speaker 2: stupid liberal hippies.

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Speaker 1: Well mine's battery power too, but you have to plug

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Speaker 1: it in and charge it.

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Speaker 2: Oh yeah, yeah, what kind do you have? I have

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Speaker 2: the green one?

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Speaker 1: Yeah, I think they're all green.

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Speaker 2: Now there's a blue one.

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Speaker 1: Oh, I've got the green one too.

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Speaker 2: The sun Oh no, but I have a sun Joe

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Speaker 2: pressure watcher.

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Speaker 1: Do you really is it battery operated.

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Speaker 2: No, you plug that in.

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Speaker 1: I was gonna say, I bet it just goes like

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Speaker 1: tinkles out water.

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Speaker 2: But they do make a plug in lawnmowers, Like it's

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Speaker 2: not a battery. You just like have a cord that

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Speaker 2: you walk around.

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Speaker 1: And run over with your lawnmower.

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Speaker 2: I guess they're called electric sure, but yeah, I got

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Speaker 2: the batterym because I have so little grass now and

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Speaker 2: we may be done period with grass.

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Speaker 1: Oh yeah, that's why you're zero escaping.

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Speaker 2: Well, we're definitely doing the front, but the back it

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Speaker 2: just got smaller and smaller. And my last lawnmower broke,

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Speaker 2: so I was paying a guy to come cut it.

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Speaker 2: It's like, why am I paying this guy to cut

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Speaker 2: to do a seven minute mo?

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Speaker 1: There's just that one bladed grass that sees the lawnmower coming.

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Speaker 2: Like yeah, But then I went and got the battery

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Speaker 2: because lawnmowers are terrible for the environment.

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Speaker 1: Yeah, that's why I got it.

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Speaker 2: They're one of the worst polluters too.

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Speaker 1: Yeah, we're both also aware that we are charging our

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Speaker 1: battery powered lawnmowers with coal fired power.

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Speaker 2: Yes, we understand that.

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Speaker 1: We know.

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Speaker 2: I'm just talking about exhaustiums.

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Speaker 1: I don't even need one. I live in a condo,

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Speaker 1: but I'm so dissatisfied with the landscapers that take care

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Speaker 1: of the condo that I yes, I bought a lawnmower

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Speaker 1: just to do the little patch out in front of

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Speaker 1: our buildings. Now, poor Momo doesn't get long grass against

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Speaker 1: her junk when she's pot of you.

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Speaker 2: Is a great way to start this episode.

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Speaker 1: So we're talking special effects.

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Speaker 2: Obviously this has been lawn talk.

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Speaker 1: We're talking special effects, Chuck.

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Speaker 2: Yes, movie special effects, which, uh boy, I mean we

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Speaker 2: could do ten parts on this. This is kind of

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Speaker 2: a big summation because movie special effects can be everything

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Speaker 2: from the movie that you walk out of saying, oh,

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Speaker 2: that movie had no special effects, when in fact it

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Speaker 2: did yeah wrong, Yeah, just tiny little things that you

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Speaker 2: may not even notice, to things that are almost whole

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Speaker 2: cloth special effects like Skycaptain in the World.

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Speaker 1: Of Tomorrow Yeah, or Sin City.

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Speaker 2: Yeah. I like both of those.

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Speaker 1: Yes, did you know sin City? Every single bit of

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Speaker 1: the set was CGI.

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Speaker 2: Yeah, and that Skycaptain did it first yeah, year before

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Speaker 2: huh yeah, every bit of that was. It was a

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Speaker 2: green screen movie.

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Speaker 1: I never saw it. Was he good?

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Speaker 2: It was interesting, like the look of It was amazing

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Speaker 2: and very much ahead of its time.

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Speaker 1: Like real art deco.

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Speaker 2: Right, Yeah, for sure. I call it black and white,

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Speaker 2: but it wasn't. It was just this really washed out color. Yeah,

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Speaker 2: but it looked awesome and was not bad.

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Speaker 1: Nice. I'll have to check it out.

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Speaker 2: And I think the dudes that made that kind of

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Speaker 2: quit making movies after that. It's very unique story.

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Speaker 1: Have you ever seen This has nothing to do with anything,

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Speaker 1: but have you seen the Changeling? George?

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Speaker 2: Yeah? Sure, Oh my god, did you just see that? Yes?

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Speaker 1: And I have to tell you, I don't think I've

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Speaker 1: ever gotten chills more frequently from a movie than I

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Speaker 1: did with that one.

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Speaker 2: Changed.

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Speaker 1: It is great, genuinely, it's a genuinely scary ghost story. Yeah,

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Speaker 1: like it is wonderful.

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Speaker 2: Yeah, I missed Georgie Scott too.

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Speaker 1: Yeah, he's a good actor. And I don't remember who

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Speaker 1: that the lead was in there, but she was great too.

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Speaker 2: It's been a while. I haven't seen it in many,

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Speaker 2: many years.

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Speaker 1: So anyway, special effects, let's try this again. Yeah, we're

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Speaker 1: gonna get derailed like every five sets.

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Speaker 2: Okay, effects are divided, and this is by the grab

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Speaker 2: story helped us out with this. Ed's a big movie

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Speaker 2: guy and horror movie sci fi guy. Sure, so he

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Speaker 2: probably enjoyed writing this one up. They're divided into three

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Speaker 2: general categories. And this all has to do with where

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Speaker 2: the effect is happening. Right. It can be practical, which

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Speaker 2: is in front of the camera, and that means it's

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Speaker 2: a physical thing that's happening.

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Speaker 1: I think that's what most people think of when they

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Speaker 1: think special effects. You think, sure, okay, by most people,

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Speaker 1: I mean.

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Speaker 2: Me in camera effects that happen inside the camera, and

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Speaker 2: then post production effects. And many times you're using one

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Speaker 2: or all three of these.

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Speaker 1: Right, Right, So with like practical effects, that's things like

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Speaker 1: like makeup and prosthetics, like ed uses. The example of

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Speaker 1: Dave Lynch is the elephant man, like the prosthetic makeup

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Speaker 1: that was used to turn John Hurt or John Hurd

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Speaker 1: which one hurt into Joseph Merrick. Yes, that's a special effect.

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Speaker 1: An explosion on set that's a special effect. A blood

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Speaker 1: packet to make it look like somebody just got shot

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Speaker 1: in the chest, a squib that's a special effect. All

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Speaker 1: three of those are practical effects. They're actually happening in

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Speaker 1: the physical world in front of you on set. Being

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Speaker 1: captured on film. That's a practical special effect.

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Speaker 2: Yeah. And the other one I wanted to mention there

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Speaker 2: that you might not think of as stuff like if

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Speaker 2: there is a fire like a fireplace in a scene

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Speaker 2: and then you flip the camera around to show the

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Speaker 2: people and you see that fire shimmering on the wall,

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Speaker 2: that's a practical effect too, Little things like that.

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Speaker 1: But it's lighting. It's a lighting effect, yeah.

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Speaker 2: Or it's a fire like you know, those aren't real fires. Yeah,

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Speaker 2: I mean it's real fire. Somebody should put that out,

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Speaker 2: but it's not like someone lights a bunch of wood.

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Speaker 2: They put fake wood and they have these fire bars

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Speaker 2: that it's like what you have under your grill basically, right,

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Speaker 2: or like the hide those and then that's your fire. Sure,

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Speaker 2: because that has to look perfect. You can't just chance

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Speaker 2: somebody not being able to start a fire or looking wonky.

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Speaker 2: That's why movie fires look perfect. Yeah, because they're fake.

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Speaker 1: They are kind of dreamy. They're so good. So in

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Speaker 1: camera effects is just basically messing with the way the

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Speaker 1: film is being produced inside the camera, not what's going

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Speaker 1: on in reality the film is capturing, but how the

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Speaker 1: film is actually capturing this stuff.

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Speaker 2: Yeah. Slow motion is a special effect in camera special effect.

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Speaker 1: Yeah, or fast motion too, which is ten times more

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Speaker 1: hilarious than fast motion if you ask me, like, where

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Speaker 1: would the monsters be without fast motion? Yeah? You know?

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Speaker 2: Or Benny Hill for God's sake, sure that lived and

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Speaker 2: breathed on fast motion? What else can you do there?

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Speaker 2: You can? And we'll see this some some of the

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Speaker 2: early special effects, like stopping the film, changing something, starting

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Speaker 2: it again.

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Speaker 1: Right, like Bewitched appearing out of nowhere.

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Speaker 2: Yeah, that's a special in camera special effect.

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Speaker 1: Yeah. One thing that struck me about all this from

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Speaker 1: researching this is how the basis, the foundation for special

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Speaker 1: effects was laid immediately upon like motion pictures being created. Yeah,

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Speaker 1: like the whole industry, not even the industry before the

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Speaker 1: industry existed, but basically after the invention of motion pictures,

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Speaker 1: and that it stayed virtually the same until the nineties. Uh. Yeah,

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Speaker 1: people refined it and got better at it, and techniques

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Speaker 1: got more.

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Speaker 2: The same general crafts Yeah, were used very much so,

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Speaker 2: which is why craft service is called craft service. Oh yeah,

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Speaker 2: because of each department is their own craft.

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Speaker 1: Oh I didn't know.

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Speaker 2: They're there to serve them pizza.

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Speaker 1: Roles, yeah, man or whatever you can put on some

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Speaker 1: weight and film and something. I'll tell you that for

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Speaker 1: you can.

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Speaker 2: Oh my god, so stop motion animation. That is an

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Speaker 2: in camera effect. You're moving a little clay figure or whatever,

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Speaker 2: a doll or a King Kong of raisin one a

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Speaker 2: California raisin, one frame at a time, twenty four frames

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Speaker 2: per second.

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Speaker 1: Can you imagine? Didn't you do that with your brother

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Speaker 1: with g I Joe?

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Speaker 2: I did? And then years later I did a little

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Speaker 2: Star Wars thing when I got a high eight video

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Speaker 2: camera and spent like three days working on something that

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Speaker 2: ended up being nine seconds long, and I said, I'm done.

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Speaker 1: What's funny is you're going to get a seasoned desist

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Speaker 1: later from Lucasfilm after talking about this in.

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Speaker 2: The podcast Night and then we have post production effects,

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Speaker 2: and that is I think that's what a lot of

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Speaker 2: people think of as special effects these days, really, because

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Speaker 2: that's all the CGI stuff that you will see is

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Speaker 2: all happens in post production.

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Speaker 1: Okay, all right, yes these days I got youa like,

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Speaker 1: almost all special effects happens in post these days, right.

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Speaker 2: Well, no, they still combined some of the old crafts

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Speaker 2: as well, but yeah, surely a lot of it is CGI.

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Speaker 1: I mean, computers can do some amazing stuff.

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Speaker 2: They can.

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Speaker 1: I mean stuff that used to take months to do

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Speaker 1: a computer can do in hours now and do it

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Speaker 1: a million times better. Yeah, So depending on your taste,

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Speaker 1: I should say that's right. So those are the big

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Speaker 1: three practical in camera and post production. And like I

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Speaker 1: was saying, like the basis of special effects was founded,

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Speaker 1: like in the nineteenth century, there were just some people

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Speaker 1: who had kind of followed in a tradition of still photography.

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Speaker 1: Still photographers by that time had already figured out some

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Speaker 1: cool stuff that you could do messing around with cameras,

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Speaker 1: something like double exposure, where you take a picture of

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Speaker 1: one thing and then take a picture of another thing

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Speaker 1: with the previously exposed film, and all of a sudden,

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Speaker 1: it looks like there's a ghost looming behind you. Stuff

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Speaker 1: like that. So out of the gate, when motion pictures

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Speaker 1: were started to become a little widespread and people could

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Speaker 1: afford them and try messing around with them, they had

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Speaker 1: a basis of tri career to begin with. But there's

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Speaker 1: a lot of stuff you can do with motion picture

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Speaker 1: cameras that you can't do with still photo cameras. And

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Speaker 1: they figured this out right away.

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Speaker 2: Yeah. That first guy who's credited as the first special

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Speaker 2: effect is Alfred Clark. And they don't have the year

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Speaker 2: exactly right. It's either ninety three, that's eighteen ninety three, yeah,

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Speaker 2: or eighteen ninety five. He made a short film called

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Speaker 2: The Execution of Mary, Queen of Scott's, and he did

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Speaker 2: that little stop trick, like I was saying, you shoot something,

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Speaker 2: you stop the camera, you replace it, or you remove something,

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Speaker 2: and then you start the camera and in real time

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Speaker 2: when you go to play it back, it's seamless, right.

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Speaker 2: And in his case, did you look at it? Did

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Speaker 2: you want?

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Speaker 1: Did you see that one?

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Speaker 2: It's he uses a stop trick with Mary getting beheaded,

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Speaker 2: and right when the axe is going to fall, you know,

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Speaker 2: he switches her out for a dummy, then starts the

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Speaker 2: camera back up and he chops the dummy's head off,

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Speaker 2: and it's it looks pretty good, like you can't there's

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Speaker 2: no big weird jump he did for eighteen ninety three.

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Speaker 2: He did a really good job.

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Speaker 1: Yeah, And the key to that is just making sure

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Speaker 1: that no one touches the camera or even breathes on it,

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Speaker 1: don't move, and then getting the dummy in the same

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Speaker 1: position as the actor.

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Speaker 2: Yeah, and in fact, as we'll talk about later with

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Speaker 2: Matt Paintings, it's so crucial that the camera not move.

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Speaker 2: That one technique was they used to bury the camera

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Speaker 2: tripod like a couple of feet into the earth, just

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Speaker 2: to make sure, like no dumb dumb pa bumps into it. Me.

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Speaker 1: So, Alfred Clark is credited with the first special effect,

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Speaker 1: but a guy named George may lese did they get it? Meylee?

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Speaker 2: We should go ask Casey Pegram.

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Speaker 1: Oh, yeah, he would know.

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Speaker 2: I think it's uh Melie, Oh.

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Speaker 1: Nice, I think he just nailed it, George Mellie. At

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Speaker 1: any rate, this guy is known as the father of

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Speaker 1: special effects.

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Speaker 2: Yeah.

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Speaker 1: He was very early on doing stuff that no one

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Speaker 1: else was doing. You know. Granted there were very few

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Speaker 1: people working in this.

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Speaker 2: Field, and none of the five people did.

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Speaker 1: But he was an illusionist and he said, oh man,

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Speaker 1: I can really do some amazing tricks with this camera.

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Speaker 1: And he really put it to good use from a

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Speaker 1: very early like I mean, turn to the last century.

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Speaker 2: Yeah, he actually stumbled upon that little stop trick by

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Speaker 2: accident when he was shooting a street traffic scene in

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Speaker 2: Paris in eighteen ninety six. The camera jams while I

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Speaker 2: think a bus was coming across frame. He's like, mad,

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Speaker 2: fixes the camera. Can we say that? Sure?

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Speaker 1: All right, we don't have any French people sitting.

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Speaker 2: Yeah, that's true, starts the camera back up, and of

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Speaker 2: course there's different things happening, And then when he went

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Speaker 2: back to look at it, it's he kind of just

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Speaker 2: stumbled upon this weird little substitution supplice that became part

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Speaker 2: of filmmaking.

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Speaker 1: Yeah, because by the time the camera had started up again,

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Speaker 1: the bus was replaced by a first So it looked

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Speaker 1: like when he went back and watched it, bus suddenly

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Speaker 1: transformed into a hearse and.

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Speaker 2: He said, wait till they get a load of bewitched

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Speaker 2: seventy something years from now. So or no, I guess

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Speaker 2: what was that in the fifties, sixties, sixties.

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Speaker 1: All right, So you may not recognize George Meliaise, oh

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Speaker 1: I got at that time, I think so name, but

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Speaker 1: you probably have heard of his work like A Trip

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Speaker 1: to the Moon.

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Speaker 2: Yeah, what's very.

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Speaker 1: Widely cited is like one of the first actual movies.

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Speaker 1: I think it was in the twenty something minute range,

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Speaker 1: but it was about some explorers in the Victorian era

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Speaker 1: getting in a rocket and traveling to the moon and

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Speaker 1: the rocket lands and the man in the moon's eye.

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Speaker 1: Everybody's seen that. I don't care who you are. If

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Speaker 1: you say you haven't, you have. This was the guy

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Speaker 1: who made that. And this is a very early movie.

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Speaker 1: It was from nineteen oh two. But he was doing

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Speaker 1: all sorts of amazing stuff. He was using extensive costuming, masks,

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Speaker 1: all sorts of in camera techniques.

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Speaker 2: His painting on film frames.

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Speaker 1: Yeah, and this is nineteen oh two, and like I

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Speaker 1: was saying, this stuff was refined, but it was the

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Speaker 1: basis of special effects for the next century to come.

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Speaker 2: Should we take a quick break?

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Speaker 1: I think so.

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Speaker 2: All right, let's take a quick break and we will

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Speaker 2: talk a little bit about the Matt technique right after this.

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Speaker 1: I'm actually pretty psyched about this, all right, Chuck. As

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Speaker 1: I said, I'm very psyched about the Matt.

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Speaker 2: Yeah. So this isn't this is a little confusing the

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Speaker 2: way it's laid out here, because what Ed's talking about

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Speaker 2: here with Norman Don is called original negative matte painting.

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Speaker 2: If you hear of a matte painting, that is a

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Speaker 2: piece of glass where you have and I'm gonna talk

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Speaker 2: about the most common way you might see it employed

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Speaker 2: is you take a big piece of glass and you

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Speaker 2: paint like a city scape on it, like really realistic,

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Speaker 2: and then you put that in a scene and shoot it.

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Speaker 2: So it's instead of having someone in front of a city,

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Speaker 2: and this was pre blue screen and green screen technology,

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Speaker 2: you would just put Kurt Russell and Escape from New

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Speaker 2: York in a field and there's a matte painting of

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Speaker 2: New York City behind him and it looks great. And

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Speaker 2: James Cameron painted that and Escape from New York. He

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Speaker 2: was a matte painter.

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Speaker 1: Oh, I didn't know that.

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Speaker 2: That was like his first job.

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Speaker 1: It's Nate. Like, if you, if you even if you

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Speaker 1: do know what Chuck's talking about, go to the internet

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Speaker 1: and just look up like great matte paintings.

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Speaker 2: It's amazing.

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Speaker 1: There's a lot of really wonderful ones, one you've seen before,

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Speaker 1: ones you haven't. But basically, anytime you've seen a movie

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Speaker 1: pre nineteen ninety three, maybe nineteen ninety where somebody walks

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Speaker 1: into this enormous place or this amazingly elaborate future city

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Speaker 1: or something like that, what you're actually looking at is

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Speaker 1: an expertly painted painting that has been messed with in

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Speaker 1: post production or using an in camera technique to make

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Speaker 1: it look like it's alive or actually, you know, bustling

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Speaker 1: or energetic or there. But it's really it's a painting.

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Speaker 1: It's a painting that some amazing human being painted by hand.

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Speaker 2: Yeah, and we should point out they still do this today.

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Speaker 2: They just do it digitally and digital matte painters are

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Speaker 2: super talented as well. Sure, but it's kind of neat

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Speaker 2: to think about that old craft and James Cameron painting

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Speaker 2: a piece of glass, yeah, and sticking that behind Kurt Russell.

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Speaker 1: And I mean it was used in everything like I

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Speaker 1: for my money, matt painting is the single most important

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Speaker 1: and widespread special effect ever.

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Speaker 2: Maybe hard to argue that, thank you.

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Speaker 1: Like it was in Mary Poppins. When Mary Poppins is

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Speaker 1: coming into the City of London floating, that's a matte painting.

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Speaker 1: When Superman walks into the uh, where's the what's the

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Speaker 1: name of the place where he's from, the Crystal Cave.

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Speaker 2: Where Fortress of Solitude?

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Speaker 1: Yeah, is that where he talks with with Marlon Brando

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Speaker 1: his dad. Uh? Yeah, I think so, okay, that's a

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Speaker 1: matte painting.

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Speaker 2: And I think the Fortress of Solitude are the remnants

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Speaker 2: of Krypton. Okay, I'm boy Superman. People are so mad

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Speaker 2: at me right now?

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Speaker 1: People still I thought everybody's on the marble train.

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Speaker 2: No, people love Superman the comics.

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Speaker 1: Oh okay, because I was gonna say, I mean, you've

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Speaker 1: seen what they've done Superman lately, right and Batman?

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Speaker 2: Yeah? So, uh, that's the matte painting and what that

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Speaker 2: is it's called set extension. So that basically means you're

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Speaker 2: just sort of extending the real life set to make

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Speaker 2: something bigger and more opulent, or maybe not more obvious,

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Speaker 2: just bigger and more right, But here's the thing relying

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Speaker 2: on that mat painter and having the glass there, and

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Speaker 2: glass can break and it can you know, on set

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Speaker 2: with lighting can be weird. So that's all can get

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Speaker 2: a little hinky. So that's why this technique called original

403
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Speaker 2: negative matt painting was developed by Norman Don and that

404
00:19:18,160 --> 00:19:21,040
Speaker 2: is when nowadays he'll use what's called the mat box,

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Speaker 2: which is literally like black I don't think it's cardboard

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Speaker 2: these days, but whatever they make out of a cardboard

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Speaker 2: thing that you put over the lens to block out

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Speaker 2: whatever you want to block out. Back in the day,

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Speaker 2: they would paint cardboard and hold it in front of

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Speaker 2: the lens, or they would actually paint the lens. And

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Speaker 2: what you're essentially doing is painting away. It was early

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Speaker 2: green screen. You're painting away what you don't want in

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Speaker 2: the frame or what you want in the future, and

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Speaker 2: then adding that later on.

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Speaker 1: Right, And because it's black or because it's covered, there's

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Speaker 1: light is not hitting that part of the film, That

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Speaker 1: part of the film that act actual film strip itself

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Speaker 1: that you're recording onto or filming onto that's unexposed. All

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Speaker 1: that gets exposed is the part of the lens or

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Speaker 1: the camera that is not covered that has say, your

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Speaker 1: actor like doing the herky jerky dance, right. And then

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Speaker 1: so what you do after that is you take that

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Speaker 1: film that has your actor doing the herky jerky dance,

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Speaker 1: project it onto a screen so you see where the

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Speaker 1: actor is, and on the screen you literally paint the

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Speaker 1: background that you want. Then you film the whole thing

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Speaker 1: a second time, and now you have your actor in

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Speaker 1: the set that you originally wanted.

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Speaker 2: Right. The only difference there, which is something that wasn't

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Speaker 2: quite right here, is they don't like project it. They

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Speaker 2: just develop a few frames of it and project it

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Speaker 2: like a slidetcha. So it's not like the camera the

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Speaker 2: film is moving through on the wall, right because in

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Speaker 2: the article here says and then you just stop it,

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Speaker 2: and what happens if you do that is the bulb

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Speaker 2: burns the Okay, So you can't just stop a prety projector.

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Speaker 1: You produced like a slide of him project that.

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Speaker 2: Yeah, and then you paint in the castle or the

439
00:21:07,560 --> 00:21:10,080
Speaker 2: mountain or the whatever you want, and then you go

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Speaker 2: back and expose it again. Yep, pretty neat.

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Speaker 1: You just open your trench coat. There you go.

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Speaker 2: And the big innovator with the original negative matte painting

443
00:21:20,960 --> 00:21:26,000
Speaker 2: was Norman Don and he really like really led the way.

444
00:21:26,440 --> 00:21:30,120
Speaker 1: But I mean again, most of the stuff that does

445
00:21:30,200 --> 00:21:33,320
Speaker 1: this now is done by computers imposed. But this is

446
00:21:33,359 --> 00:21:35,960
Speaker 1: like the links people were going to to make movies

447
00:21:36,000 --> 00:21:38,440
Speaker 1: at the time, and you watch them today and you're like, god,

448
00:21:38,440 --> 00:21:41,240
Speaker 1: it looks terrible. But if you stop and think about

449
00:21:41,240 --> 00:21:44,760
Speaker 1: the effort that they were going to they were inventing, yeah,

450
00:21:45,119 --> 00:21:48,120
Speaker 1: it's just mind boggling that they managed to get it,

451
00:21:48,400 --> 00:21:49,480
Speaker 1: you know to this point.

452
00:21:49,680 --> 00:21:52,399
Speaker 2: Yeah, Norman Don tried to patent that technique as well,

453
00:21:53,200 --> 00:21:56,640
Speaker 2: but they said no, you did not invent this, You

454
00:21:56,840 --> 00:21:59,480
Speaker 2: popularized it, and you can't patent something that you made

455
00:21:59,480 --> 00:22:00,000
Speaker 2: super populs.

456
00:22:01,200 --> 00:22:03,720
Speaker 1: There are some other stuff too. There's like rear projection

457
00:22:03,880 --> 00:22:07,520
Speaker 1: in front projection, which is basically like projecting the background

458
00:22:07,560 --> 00:22:11,520
Speaker 1: and moving background onto a screen behind the actors. Yeah,

459
00:22:11,680 --> 00:22:14,280
Speaker 1: basically you know all those hokey driving scenes. Yeah, yeah,

460
00:22:14,320 --> 00:22:16,760
Speaker 1: the person's great, the car is being rocked or whatever

461
00:22:16,800 --> 00:22:19,160
Speaker 1: the road behind them, that's front of rear projection.

462
00:22:19,440 --> 00:22:23,080
Speaker 2: Yeah, and people still will use that as homage, like

463
00:22:23,119 --> 00:22:27,320
Speaker 2: in pulp fiction, very famously Bruce Willis or I guess not, Yeah,

464
00:22:27,400 --> 00:22:29,359
Speaker 2: when Bruce Willis gets in the cab after the fight.

465
00:22:29,720 --> 00:22:30,120
Speaker 1: Yeah.

466
00:22:30,160 --> 00:22:33,280
Speaker 2: And if it looks old fashioned, this because QT used

467
00:22:33,320 --> 00:22:36,960
Speaker 2: rear screen projection for that. And there's also a technique

468
00:22:36,960 --> 00:22:39,639
Speaker 2: that's not in here that I just remembered, so I'm

469
00:22:39,640 --> 00:22:43,080
Speaker 2: actually having to look up what it's called. When you're

470
00:22:43,080 --> 00:22:46,440
Speaker 2: in a car scene but you're not doing a rear

471
00:22:46,480 --> 00:22:50,119
Speaker 2: screen projection. So what happens here is you're sitting in

472
00:22:50,119 --> 00:22:51,879
Speaker 2: a car, in a still car on the set, but

473
00:22:51,880 --> 00:22:54,840
Speaker 2: they're not projecting anything behind you. What you've got is

474
00:22:55,920 --> 00:22:58,399
Speaker 2: two people shaking the car at a frame. What do

475
00:22:58,520 --> 00:23:01,760
Speaker 2: they grips Oh yeah, usually a grip. But I've shaken

476
00:23:01,800 --> 00:23:04,359
Speaker 2: cars and trains before. It's because I'm just a body

477
00:23:04,359 --> 00:23:06,960
Speaker 2: on the set, like get in there and shake that thing.

478
00:23:07,400 --> 00:23:08,800
Speaker 2: In fact, one job I was on there was a

479
00:23:08,800 --> 00:23:12,080
Speaker 2: faked subway train and the hydraulics broke early on and

480
00:23:12,119 --> 00:23:14,159
Speaker 2: they're like, bring out the PA's you're gonna shake this

481
00:23:14,160 --> 00:23:15,560
Speaker 2: train for twelve hours.

482
00:23:15,520 --> 00:23:17,360
Speaker 1: Like you got rhythm, get in there.

483
00:23:17,640 --> 00:23:19,560
Speaker 2: Yeah. Oh, we couldn't have too much rhythm because we

484
00:23:19,600 --> 00:23:23,360
Speaker 2: got yelled at for that because it looked too rhythmic.

485
00:23:23,480 --> 00:23:23,880
Speaker 1: Gotcha.

486
00:23:24,240 --> 00:23:25,800
Speaker 2: So we're like, I don't know what, I don't know

487
00:23:25,800 --> 00:23:26,359
Speaker 2: how to do this.

488
00:23:26,560 --> 00:23:27,800
Speaker 1: Who are you working for?

489
00:23:28,000 --> 00:23:30,719
Speaker 2: Oh? It was just a commercial director that said that

490
00:23:30,760 --> 00:23:34,119
Speaker 2: our movement of the train looked to rhythmic and not believable.

491
00:23:34,720 --> 00:23:38,320
Speaker 1: So anyway, this fruit of the Looms commercial is totally unbelievable.

492
00:23:38,920 --> 00:23:41,199
Speaker 2: You sit in the car, you're acting like you're driving.

493
00:23:41,480 --> 00:23:44,639
Speaker 2: There's someone else shaking the car. There might be someone

494
00:23:44,640 --> 00:23:49,640
Speaker 2: else off camera, like flashing a light through the car

495
00:23:49,880 --> 00:23:52,199
Speaker 2: like you're going by a street light, or a headlight

496
00:23:52,280 --> 00:23:54,840
Speaker 2: goes across their face, and there may be fake rain

497
00:23:54,920 --> 00:23:57,600
Speaker 2: in the background. And this is sometimes like six seven,

498
00:23:57,680 --> 00:24:00,639
Speaker 2: eight people working in concert to make it look like

499
00:24:00,680 --> 00:24:02,480
Speaker 2: you're driving at night in the rain or something like that.

500
00:24:02,520 --> 00:24:05,520
Speaker 1: Right, so there's like an obvious background trees or rode

501
00:24:05,560 --> 00:24:07,920
Speaker 1: or whatever, but maybe there's headlights coming up behind you.

502
00:24:08,040 --> 00:24:11,480
Speaker 2: Is dark, yeah, but there are people with a spotlight. Yeah,

503
00:24:11,520 --> 00:24:14,399
Speaker 2: it's really really cool, old fashioned, but people still use

504
00:24:14,440 --> 00:24:17,199
Speaker 2: that stuff. Yeah, And I wish I could remember the

505
00:24:17,200 --> 00:24:19,400
Speaker 2: full name of that technique.

506
00:24:19,240 --> 00:24:22,840
Speaker 1: The shaken shimmy.

507
00:24:23,720 --> 00:24:25,359
Speaker 2: I'm gonna be so mad later on.

508
00:24:25,840 --> 00:24:27,200
Speaker 1: What was this called the shake and shimmy?

509
00:24:27,280 --> 00:24:28,160
Speaker 2: Okay, that's right.

510
00:24:29,400 --> 00:24:32,320
Speaker 1: So you talked about green screen, and that's actually super

511
00:24:32,400 --> 00:24:37,600
Speaker 1: old too. There's a really convoluted explanation about how originally

512
00:24:37,720 --> 00:24:43,840
Speaker 1: green screen employed sodium vapor lights, yeah, which would actually

513
00:24:43,960 --> 00:24:50,359
Speaker 1: mess with the yellow exposure on panchromatic film, and my

514
00:24:50,560 --> 00:24:53,199
Speaker 1: brain I started bleeding out of my ear. I cannot

515
00:24:53,200 --> 00:24:55,520
Speaker 1: tell you how many times I read descriptions about this

516
00:24:55,600 --> 00:24:59,200
Speaker 1: and I can't quite get it. So suffice to say

517
00:24:59,280 --> 00:25:03,119
Speaker 1: that that was one technique for green screen. What really

518
00:25:03,280 --> 00:25:06,320
Speaker 1: kind of changed the industry is when they figured out

519
00:25:06,359 --> 00:25:11,480
Speaker 1: that again, if you if you film in black, the

520
00:25:13,720 --> 00:25:16,359
Speaker 1: film is not going to be exposed. So anything you

521
00:25:16,400 --> 00:25:20,000
Speaker 1: go and re expose it to it will cover over

522
00:25:20,040 --> 00:25:23,080
Speaker 1: that stuff so like it's transparent. So for example, in

523
00:25:23,160 --> 00:25:26,560
Speaker 1: The Invisible Man from I think nineteen thirty thirteen thirty three,

524
00:25:26,640 --> 00:25:30,959
Speaker 1: Ye Claude Rains wore a black bodysuit and the background

525
00:25:31,440 --> 00:25:34,200
Speaker 1: was black. It was a black screen, like a black

526
00:25:34,200 --> 00:25:38,960
Speaker 1: green screen. But he wore clothes and everything in bandages

527
00:25:39,000 --> 00:25:41,439
Speaker 1: and sunglasses and I think he smoked a cigarette or whatever.

528
00:25:41,840 --> 00:25:44,400
Speaker 1: But when he took the bandages off and he took

529
00:25:44,440 --> 00:25:47,639
Speaker 1: his sunglasses and closed off, there was nothing there. It

530
00:25:47,680 --> 00:25:51,080
Speaker 1: was a black bodysuit and a black background. So when

531
00:25:51,119 --> 00:25:55,800
Speaker 1: they filmed the background later on, all you could see

532
00:25:55,840 --> 00:25:58,439
Speaker 1: was the background in the clothes and the bandages, it

533
00:25:58,480 --> 00:26:00,960
Speaker 1: looked like there was nothing there because as far as

534
00:26:01,000 --> 00:26:03,440
Speaker 1: the film was concerned, when they were filming it, there

535
00:26:03,520 --> 00:26:06,200
Speaker 1: wasn't anything there. So the film wasn't exposed in those

536
00:26:06,200 --> 00:26:07,359
Speaker 1: sections on each frame.

537
00:26:07,560 --> 00:26:10,280
Speaker 2: That's right, And that's called the Williams process. And a

538
00:26:10,359 --> 00:26:12,920
Speaker 2: key part of the Williams process is the optical printer,

539
00:26:13,440 --> 00:26:15,960
Speaker 2: and that is a projector that actually prints an image

540
00:26:15,960 --> 00:26:19,040
Speaker 2: directly onto the film that runs through the camera while

541
00:26:19,040 --> 00:26:20,600
Speaker 2: that printer and camera are synced up.

542
00:26:20,800 --> 00:26:23,399
Speaker 1: Yes, so this is to me The optical printer is

543
00:26:23,440 --> 00:26:29,440
Speaker 1: the second most widespread and useful special effect technique in

544
00:26:29,480 --> 00:26:30,320
Speaker 1: the history of film.

545
00:26:30,920 --> 00:26:32,720
Speaker 2: You just waved your hand.

546
00:26:33,240 --> 00:26:35,240
Speaker 1: They suddenly had an ass gotten a arre on.

547
00:26:36,200 --> 00:26:38,560
Speaker 2: Yeah, hard to argue that too. But all this stuff

548
00:26:38,640 --> 00:26:41,000
Speaker 2: was just precursor to what was blue screen early on

549
00:26:41,840 --> 00:26:44,800
Speaker 2: Chroma key blue and then later became Chroma Key green.

550
00:26:45,520 --> 00:26:48,240
Speaker 2: I'm not sure why they made the switch actually, other

551
00:26:48,320 --> 00:26:51,560
Speaker 2: than maybe the green less prevalent or less use I

552
00:26:51,560 --> 00:26:54,719
Speaker 2: think so. Probably maybe the blue was because you know what,

553
00:26:54,800 --> 00:26:59,080
Speaker 2: you don't want anything close to that color will disappear

554
00:26:59,280 --> 00:27:00,360
Speaker 2: against the green.

555
00:27:00,600 --> 00:27:03,280
Speaker 1: Anyone who's ever done the weather on the newscast I

556
00:27:03,320 --> 00:27:03,920
Speaker 1: can tell you.

557
00:27:03,840 --> 00:27:06,159
Speaker 2: That, Yeah, there have been. There are blooper reels of

558
00:27:06,200 --> 00:27:08,920
Speaker 2: weather people disappearing when they wear like a green jacket

559
00:27:09,040 --> 00:27:09,359
Speaker 2: or something.

560
00:27:09,440 --> 00:27:12,080
Speaker 1: Right, it looks like the weather's going on through their body.

561
00:27:12,640 --> 00:27:15,240
Speaker 1: Same thing. So I want to say one more thing

562
00:27:15,240 --> 00:27:18,520
Speaker 1: about optical printers, or another little bit about it. Sure, So,

563
00:27:18,800 --> 00:27:21,760
Speaker 1: what you have is a projector projecting a film on

564
00:27:22,440 --> 00:27:26,800
Speaker 1: to a screen, and you have a camera recording what's

565
00:27:26,840 --> 00:27:29,879
Speaker 1: being projected. Right, that's right, that's the optical printer. And

566
00:27:29,920 --> 00:27:31,840
Speaker 1: you could do all sorts of stuff with that. So

567
00:27:31,920 --> 00:27:34,400
Speaker 1: let's say you have a shot where you have one

568
00:27:34,480 --> 00:27:38,080
Speaker 1: mat in the foreground and live actor and then another

569
00:27:38,119 --> 00:27:41,399
Speaker 1: mat in the background that has a bunch of different people.

570
00:27:41,160 --> 00:27:43,520
Speaker 2: In it or something like that, or stormtroopers three.

571
00:27:43,560 --> 00:27:46,560
Speaker 1: Okay, so you got three different elements to that shot.

572
00:27:46,680 --> 00:27:49,879
Speaker 1: What you would do is using the same film film

573
00:27:50,080 --> 00:27:53,960
Speaker 1: each thing. So you go film that, like the actor,

574
00:27:54,000 --> 00:27:56,280
Speaker 1: the live action actor, You've got that on the film,

575
00:27:56,480 --> 00:28:00,000
Speaker 1: and you project that, and you take film where you're

576
00:28:00,080 --> 00:28:03,560
Speaker 1: filming the mat and you project that and film that.

577
00:28:04,720 --> 00:28:07,280
Speaker 1: I just totally have screwed this up. Oh my god,

578
00:28:07,320 --> 00:28:11,520
Speaker 1: this is just like Ohn, No, it's worse than that.

579
00:28:12,560 --> 00:28:17,840
Speaker 1: Was it false false positives? Do you remember that time

580
00:28:17,880 --> 00:28:19,720
Speaker 1: where I was like I took a pretty simple thing

581
00:28:19,760 --> 00:28:24,040
Speaker 1: and just completely walk the dog with it. Yeah, okay,

582
00:28:24,119 --> 00:28:26,399
Speaker 1: well I'll just do that again. Everyone. I want you

583
00:28:26,480 --> 00:28:28,479
Speaker 1: to go look up optical printers, read a little bit

584
00:28:28,480 --> 00:28:30,840
Speaker 1: about them, and then you'll say, oh, Josh is right.

585
00:28:31,320 --> 00:28:33,159
Speaker 2: Yeah, this tough stuff.

586
00:28:34,119 --> 00:28:37,200
Speaker 1: It is essentially you're filming a projection and you can

587
00:28:37,240 --> 00:28:40,120
Speaker 1: do that multiple times with the same film, and it

588
00:28:40,200 --> 00:28:43,160
Speaker 1: adds up to where you have the shot you wanted

589
00:28:43,200 --> 00:28:45,080
Speaker 1: where it makes it look like all these things that

590
00:28:45,160 --> 00:28:48,720
Speaker 1: you filmed three separate times are all happening together in

591
00:28:48,800 --> 00:28:49,560
Speaker 1: one space.

592
00:28:49,760 --> 00:28:53,000
Speaker 2: Yes, you are marrying separate images together onto a single

593
00:28:53,000 --> 00:28:53,840
Speaker 2: piece of film, right.

594
00:28:53,960 --> 00:28:56,880
Speaker 1: You couldn't do that with before optical printers, which is

595
00:28:56,920 --> 00:28:59,680
Speaker 1: a projector in a camera working together.

596
00:29:00,480 --> 00:29:04,840
Speaker 2: That's right, Okay, I think I needed that we should

597
00:29:04,920 --> 00:29:09,320
Speaker 2: mention briefly motion controlled cameras. This is a system that

598
00:29:09,440 --> 00:29:14,360
Speaker 2: allows it's basically taking the person out of the equation.

599
00:29:14,960 --> 00:29:16,760
Speaker 2: There is not a person pushing a dolly. There is

600
00:29:16,800 --> 00:29:19,320
Speaker 2: not a person moving the camera. It is a machine

601
00:29:19,320 --> 00:29:24,280
Speaker 2: that is programmed to move a camera through space very

602
00:29:24,400 --> 00:29:27,200
Speaker 2: very precisely and exactly the same every single time.

603
00:29:27,320 --> 00:29:29,640
Speaker 1: Yeah, So you can do the exact same motion over

604
00:29:29,680 --> 00:29:30,120
Speaker 1: and over.

605
00:29:29,960 --> 00:29:32,000
Speaker 2: Again, over and over, and a lot of times if

606
00:29:32,000 --> 00:29:34,200
Speaker 2: you're on a TV commercial, as boring as that is,

607
00:29:34,280 --> 00:29:37,040
Speaker 2: you will see stuff like this, for like a food shoot,

608
00:29:38,040 --> 00:29:41,720
Speaker 2: because food shoots are notoriously tricky because everything's super close

609
00:29:41,800 --> 00:29:44,320
Speaker 2: up and has to be perfect, and you can't be

610
00:29:44,400 --> 00:29:45,800
Speaker 2: off a little bit with a camera because a lot

611
00:29:45,840 --> 00:29:48,360
Speaker 2: of times you'll sub in stuff later and post. And

612
00:29:48,400 --> 00:29:52,560
Speaker 2: that's the whole reason for motion control is to replicate

613
00:29:53,760 --> 00:29:55,280
Speaker 2: moves with exact precision.

614
00:29:55,640 --> 00:29:59,400
Speaker 1: So I was reading about industrial light and magic using

615
00:29:59,440 --> 00:30:02,360
Speaker 1: this to really great effect with the first Star Wars,

616
00:30:02,680 --> 00:30:05,800
Speaker 1: which is episode four, right, the New Hope. That's the

617
00:30:05,840 --> 00:30:08,200
Speaker 1: first one, right right.

618
00:30:08,520 --> 00:30:10,719
Speaker 2: I'm not confirming or denying anything. I'm just gonna let

619
00:30:10,720 --> 00:30:11,000
Speaker 2: that stand.

620
00:30:11,160 --> 00:30:14,040
Speaker 1: Episode four is the first Star Wars movie that ever

621
00:30:14,080 --> 00:30:14,880
Speaker 1: came out.

622
00:30:15,160 --> 00:30:19,040
Speaker 2: Correct, The Star Wars A New Hope is the first

623
00:30:19,040 --> 00:30:21,520
Speaker 2: episode okay, that I ever saw in a movie theater,

624
00:30:21,840 --> 00:30:22,440
Speaker 2: because it's the.

625
00:30:22,440 --> 00:30:24,480
Speaker 1: First one that ever came out. Anyway, when they were

626
00:30:24,480 --> 00:30:28,640
Speaker 1: making this, you know, is it a Star Destroyer, the

627
00:30:28,680 --> 00:30:31,880
Speaker 1: big the big daddy ships. Okay, oh man, we're gonna

628
00:30:31,880 --> 00:30:36,560
Speaker 1: get murdered. Everything. All of the ships and Star Wars

629
00:30:36,600 --> 00:30:39,560
Speaker 1: were models, yes, fairly small models. Actually they were at

630
00:30:39,920 --> 00:30:42,640
Speaker 1: the base, Okay, I think it was episode four, I'm

631
00:30:42,640 --> 00:30:46,480
Speaker 1: almost positive. Okay, So those models were not moving in

632
00:30:46,560 --> 00:30:50,400
Speaker 1: these shots and these enormous, like huge panoramic shots where

633
00:30:50,680 --> 00:30:55,000
Speaker 1: like there's tie fighters flying around shooting everything and X

634
00:30:55,000 --> 00:30:58,120
Speaker 1: wing fighters shooting the tie fighters. None of those models

635
00:30:58,160 --> 00:31:01,400
Speaker 1: were moving. What happened was they figured out how to

636
00:31:01,480 --> 00:31:05,560
Speaker 1: use motion controlled cameras so that the camera would go

637
00:31:05,640 --> 00:31:09,479
Speaker 1: through the shot and around the model and make it

638
00:31:09,560 --> 00:31:12,080
Speaker 1: look like the model was moving, and plus it was

639
00:31:12,160 --> 00:31:16,000
Speaker 1: moving the shot through space right right. The thing is is,

640
00:31:16,080 --> 00:31:19,800
Speaker 1: let's say you have five different ships. You film those

641
00:31:19,840 --> 00:31:23,120
Speaker 1: five ships separately, but those five ships are all going

642
00:31:23,160 --> 00:31:25,920
Speaker 1: to be in the same shot, So you have to

643
00:31:26,000 --> 00:31:29,640
Speaker 1: film that same shot the exact same way five different

644
00:31:29,680 --> 00:31:32,560
Speaker 1: times and then run it through an optical printer so

645
00:31:32,600 --> 00:31:35,120
Speaker 1: that you can get all of them, all five shots

646
00:31:35,160 --> 00:31:38,840
Speaker 1: onto the same strip of film. But that's one of

647
00:31:38,840 --> 00:31:43,200
Speaker 1: the ways that motion controlled cameras were really put to

648
00:31:43,200 --> 00:31:47,080
Speaker 1: good use, and it was extremely groundbreaking because not one

649
00:31:47,120 --> 00:31:49,840
Speaker 1: of those ships were moving in reality when they were

650
00:31:49,840 --> 00:31:50,840
Speaker 1: filming Star Wars.

651
00:31:51,200 --> 00:31:55,320
Speaker 2: Can you name five Star warships tie Fighter, X, wing Fighter.

652
00:31:56,680 --> 00:31:58,880
Speaker 2: You already said one, the tie Fighter, two.

653
00:32:00,840 --> 00:32:03,200
Speaker 1: The deuce is what the people in the no call

654
00:32:03,240 --> 00:32:05,480
Speaker 1: it s the Uh.

655
00:32:06,320 --> 00:32:07,520
Speaker 2: You already said star destroyer.

656
00:32:08,120 --> 00:32:09,280
Speaker 1: So star destroyer was right.

657
00:32:09,360 --> 00:32:10,480
Speaker 2: Yeah, there's a star Destroyer.

658
00:32:10,640 --> 00:32:13,120
Speaker 1: Okay, you made a face like I was just totally off.

659
00:32:14,360 --> 00:32:17,120
Speaker 1: You can make the case that Indoor was a ship

660
00:32:17,160 --> 00:32:21,680
Speaker 1: even though it was a planet. Uh. There was the

661
00:32:21,320 --> 00:32:30,240
Speaker 1: the forest Speeder, uh huh, the the pod Racer yeah, and.

662
00:32:31,880 --> 00:32:38,440
Speaker 2: Doctors as that's right, he's the final ship. Yeah. Uh.

663
00:32:38,960 --> 00:32:41,959
Speaker 1: Do you know many people. Boy, their calf muscles just

664
00:32:42,080 --> 00:32:43,760
Speaker 1: popped right out of the back to their legs.

665
00:32:43,800 --> 00:32:46,200
Speaker 2: Olly Fry is like hyperventilating somewhere in the office, and

666
00:32:46,280 --> 00:32:50,400
Speaker 2: she doesn't know why. So, as I said earlier, it's

667
00:32:50,480 --> 00:32:54,720
Speaker 2: it's usually a combination of these different techniques to create

668
00:32:54,760 --> 00:32:59,320
Speaker 2: one overall special effect using these different crafts. And a

669
00:32:59,360 --> 00:33:03,800
Speaker 2: great example Jurassic Park in the in the scene with

670
00:33:03,840 --> 00:33:07,320
Speaker 2: the veloscer raptors in the kitchen, a great, great sequence

671
00:33:07,720 --> 00:33:10,760
Speaker 2: when it was playing cat and mouse with those children. Yeah,

672
00:33:10,840 --> 00:33:15,080
Speaker 2: there were puppets, there were actors in costumes, there were

673
00:33:15,160 --> 00:33:20,239
Speaker 2: animatronic raptor heads, and there were full cgi raptors, and

674
00:33:20,280 --> 00:33:23,080
Speaker 2: you throw this all in a hat, mix it all

675
00:33:23,160 --> 00:33:25,080
Speaker 2: up and it comes out to be like a really

676
00:33:25,120 --> 00:33:26,400
Speaker 2: believable looking scene.

677
00:33:26,480 --> 00:33:28,160
Speaker 1: Yeah, it comes out as an oscar.

678
00:33:30,520 --> 00:33:32,640
Speaker 2: Yeah, I'm sure they won Oscars, right.

679
00:33:33,520 --> 00:33:36,040
Speaker 1: They had two of I don't know, but there's just

680
00:33:36,160 --> 00:33:36,719
Speaker 1: no way.

681
00:33:36,960 --> 00:33:41,920
Speaker 2: It was groundbreaking. I remember being just gobsmacked in the

682
00:33:41,960 --> 00:33:44,800
Speaker 2: movie theater. Yeah, when I first saw those dinosaurs walking

683
00:33:44,840 --> 00:33:45,800
Speaker 2: across the screen.

684
00:33:45,600 --> 00:33:47,440
Speaker 1: And that was nineteen ninety three, I believe, for the

685
00:33:47,480 --> 00:33:51,240
Speaker 1: first Jurassic Park, right, Jurassic Park A New Hope, the

686
00:33:51,280 --> 00:33:55,560
Speaker 1: first one that came out. So, but that was five

687
00:33:55,640 --> 00:33:58,920
Speaker 1: years after the first OSCAR had been awarded for special effects.

688
00:33:58,960 --> 00:34:02,000
Speaker 1: As far as I know, really, I believe that The

689
00:34:02,080 --> 00:34:05,480
Speaker 1: Abyss was the first one to win an OSCAR for

690
00:34:05,520 --> 00:34:09,279
Speaker 1: special effects. Maybe or they're no, No, I'm sorry, I'm

691
00:34:09,320 --> 00:34:13,720
Speaker 1: way off, way off. The Abyss was the first movie

692
00:34:13,760 --> 00:34:16,600
Speaker 1: to win a special effect for a CGI effect.

693
00:34:16,800 --> 00:34:20,279
Speaker 2: Okay, remember the water Sure still looks pretty good.

694
00:34:20,600 --> 00:34:23,560
Speaker 1: It looks amazing. Yeah, this is nineteen eighty seven we're

695
00:34:23,560 --> 00:34:24,200
Speaker 1: talking about.

696
00:34:24,239 --> 00:34:25,359
Speaker 2: Wow was that when that came out?

697
00:34:25,480 --> 00:34:27,440
Speaker 1: Yeah? I was surprised to see that too, because that

698
00:34:27,480 --> 00:34:29,600
Speaker 1: holds up. I thought it was. Yeah, it's a good movie.

699
00:34:29,760 --> 00:34:31,200
Speaker 2: Yeah, I really like that movie.

700
00:34:31,280 --> 00:34:35,040
Speaker 1: How do you not like Ed Harris? If you don't

701
00:34:35,080 --> 00:34:36,840
Speaker 1: like what? Did you not like it? Hair? No?

702
00:34:36,960 --> 00:34:38,640
Speaker 2: I like him as an actor. I think a lot

703
00:34:38,640 --> 00:34:41,040
Speaker 2: of people might have problems with Ed Harris as a person.

704
00:34:41,040 --> 00:34:42,879
Speaker 2: He's notoriously cantankerous.

705
00:34:43,640 --> 00:34:45,799
Speaker 1: I've never heard that, I believe it.

706
00:34:45,920 --> 00:34:49,279
Speaker 2: Sure he looks like he could yell somebody down, doesn't he?

707
00:34:49,360 --> 00:34:52,520
Speaker 1: Sure, but he also keeps a cool head when he's

708
00:34:52,520 --> 00:34:55,560
Speaker 1: an actor as a seventies or sixties NASA guy.

709
00:34:55,719 --> 00:34:59,040
Speaker 2: Hey, I love Ed Harris. All right, let's take another break, okay,

710
00:34:59,200 --> 00:35:01,919
Speaker 2: and we're going to come back and talk a little

711
00:35:01,960 --> 00:35:31,719
Speaker 2: bit about Star Wars episode whatever right after this. Okay,

712
00:35:31,880 --> 00:35:34,719
Speaker 2: we're back, and we should talk. We should mention the garbage, Matt,

713
00:35:34,760 --> 00:35:38,560
Speaker 2: real quick, because that is a big deal. A lot

714
00:35:38,560 --> 00:35:42,640
Speaker 2: of times you have wire work or you have you

715
00:35:42,760 --> 00:35:46,040
Speaker 2: have things hanging from wires. It doesn't have to be

716
00:35:46,080 --> 00:35:48,960
Speaker 2: a person. It can be like a model plane or

717
00:35:49,000 --> 00:35:51,560
Speaker 2: a tie fighter or whatever. You got to get rid

718
00:35:51,600 --> 00:35:54,520
Speaker 2: of those wires unless you're ed would you can't have

719
00:35:54,560 --> 00:35:55,160
Speaker 2: fish in line.

720
00:35:55,719 --> 00:35:58,359
Speaker 1: No, you're supposed to not, but yes, Or if.

721
00:35:58,280 --> 00:36:00,520
Speaker 2: You're Charlie's thrown and mad Max Ferry, you got to

722
00:36:00,520 --> 00:36:03,560
Speaker 2: get rid of that arm. Or if you're in Forrest Gump,

723
00:36:03,600 --> 00:36:06,600
Speaker 2: you got to get rid of Lieutenant Dan's legs. Man.

724
00:36:06,680 --> 00:36:09,520
Speaker 1: That was amazing. That was the first time anybody's ever

725
00:36:09,560 --> 00:36:11,560
Speaker 1: done really something like that throughout.

726
00:36:12,239 --> 00:36:15,280
Speaker 2: Yeah. I have my problems with that movie for sure,

727
00:36:15,400 --> 00:36:18,200
Speaker 2: and one of them is I think he way over it.

728
00:36:18,280 --> 00:36:20,000
Speaker 2: He was like a Kidney candy store and way over

729
00:36:20,080 --> 00:36:22,799
Speaker 2: did the like. And now Forrest is in the White

730
00:36:22,840 --> 00:36:26,120
Speaker 2: House and using archival footage and sticking Forest in it.

731
00:36:26,480 --> 00:36:29,439
Speaker 1: Yeah, that whole half hour dialogue he has with Peter

732
00:36:29,560 --> 00:36:36,160
Speaker 1: Cushing's ghost. It was uncanny, but.

733
00:36:36,719 --> 00:36:38,720
Speaker 2: I get it. I get why these filmmakers get excited,

734
00:36:38,719 --> 00:36:41,720
Speaker 2: these really technical wizards. Well, you get a new technique

735
00:36:41,719 --> 00:36:42,640
Speaker 2: and they just hammer it.

736
00:36:42,800 --> 00:36:45,200
Speaker 1: The guy from Industrial LIGHTE and Magic when they made

737
00:36:45,680 --> 00:36:49,759
Speaker 1: the first Star Wars call it what you will. His

738
00:36:49,880 --> 00:36:53,759
Speaker 1: name was I think John Dykstra, and this motion controlled

739
00:36:53,960 --> 00:36:58,200
Speaker 1: camera assembly that they created was called distra flex. It

740
00:36:58,320 --> 00:37:01,480
Speaker 1: was super groundbreaking and they really did amazing stuff with it. Well,

741
00:37:01,520 --> 00:37:04,360
Speaker 1: he's like a legend in this industry now, and I

742
00:37:04,400 --> 00:37:06,480
Speaker 1: saw an interview with him recently and he was like,

743
00:37:06,600 --> 00:37:11,200
Speaker 1: I'm so tired of seeing just whole cities leveled and

744
00:37:11,239 --> 00:37:14,239
Speaker 1: like just the most amazing stuff you can possibly think

745
00:37:14,280 --> 00:37:18,759
Speaker 1: of being done just because we can do it. He

746
00:37:19,200 --> 00:37:22,239
Speaker 1: put it really really well. I think it's an embarrassment

747
00:37:22,239 --> 00:37:22,760
Speaker 1: of riches.

748
00:37:22,960 --> 00:37:24,799
Speaker 2: Yeah, you know, total like it.

749
00:37:24,760 --> 00:37:27,439
Speaker 1: Can be done, So it's being done, everybody's doing it.

750
00:37:27,440 --> 00:37:31,640
Speaker 1: It's just you know, like and it makes it less amazing,

751
00:37:32,400 --> 00:37:34,600
Speaker 1: not necessarily because it looks bad. It just keeps looking

752
00:37:34,640 --> 00:37:37,080
Speaker 1: better and better every time. Like if you if you

753
00:37:37,080 --> 00:37:41,919
Speaker 1: look at Charlie Stern's prosthetic arm or missing arm. Yeah,

754
00:37:42,080 --> 00:37:46,040
Speaker 1: compared with Lieutenant Dan's missing legs looks radically different. It does.

755
00:37:46,120 --> 00:37:49,040
Speaker 1: So it's getting better. There's just too much of it,

756
00:37:49,080 --> 00:37:52,200
Speaker 1: I think is the point just to be all ed

757
00:37:52,280 --> 00:37:53,560
Speaker 1: heresy on this now.

758
00:37:53,600 --> 00:37:56,759
Speaker 2: I have long predicted a return to practical effects, really,

759
00:37:56,840 --> 00:37:58,640
Speaker 2: and it's starting to happen a little bit more and more.

760
00:37:58,760 --> 00:38:01,839
Speaker 1: Yeah, I could see starting with indie filmmakers, Yeah, for sure,

761
00:38:01,880 --> 00:38:08,160
Speaker 1: which is funny because finally computer generated effects have trickled

762
00:38:08,200 --> 00:38:10,680
Speaker 1: down enough. Yeah, like you or I could just walk

763
00:38:10,719 --> 00:38:13,120
Speaker 1: out of the studio and probably get on any one

764
00:38:13,120 --> 00:38:16,279
Speaker 1: of those backs out there and use stuff that ten

765
00:38:16,360 --> 00:38:19,840
Speaker 1: fifteen years ago when we lost five hundred thousand dollars

766
00:38:19,880 --> 00:38:21,120
Speaker 1: to set up a rig like that.

767
00:38:21,400 --> 00:38:24,000
Speaker 2: Yeah. And that's how some young filmmakers have gotten noticed

768
00:38:24,080 --> 00:38:27,840
Speaker 2: is by making these short films with like zero money

769
00:38:27,960 --> 00:38:30,759
Speaker 2: on their computer that get a lot of action on

770
00:38:30,800 --> 00:38:33,680
Speaker 2: YouTube because it looks so amazing, and the studio will

771
00:38:33,719 --> 00:38:36,399
Speaker 2: be like, sign that person up. Yeah, I can't remember

772
00:38:36,400 --> 00:38:38,680
Speaker 2: the guy's name, but that's happened a couple of times

773
00:38:38,680 --> 00:38:43,920
Speaker 2: in recent years. Ed Harris, we should talk about a

774
00:38:43,960 --> 00:38:47,360
Speaker 2: few of the groundbreaking people over the years. Oh, yes,

775
00:38:48,680 --> 00:38:50,279
Speaker 2: we'll go through these a little quicker than what we

776
00:38:50,360 --> 00:38:52,600
Speaker 2: have in front of us, I think, But we should

777
00:38:52,600 --> 00:38:57,920
Speaker 2: mention Lon Cheney. Sure, one of the original superstars of

778
00:38:58,000 --> 00:39:01,960
Speaker 2: film in the Silent era, the man with faces. He was.

779
00:39:02,640 --> 00:39:05,280
Speaker 2: He was very talented doing his own makeup and changing

780
00:39:05,280 --> 00:39:07,600
Speaker 2: his face. That's why he's called the Man of a

781
00:39:07,640 --> 00:39:08,719
Speaker 2: thousand Faces.

782
00:39:09,200 --> 00:39:12,520
Speaker 1: Right, He's like, here's nine hundred and ninety seven.

783
00:39:12,920 --> 00:39:14,120
Speaker 2: What about Willis O'Brien.

784
00:39:14,560 --> 00:39:18,200
Speaker 1: He was one of the pioneers of stop motion photography. Again,

785
00:39:18,239 --> 00:39:21,200
Speaker 1: if you're a California Racins fan, you have a lot

786
00:39:21,239 --> 00:39:25,640
Speaker 1: to thank Willis O'Brien for. He also this, dude, the

787
00:39:25,680 --> 00:39:27,640
Speaker 1: stuff he did. I mean, if you look back, he

788
00:39:27,680 --> 00:39:30,240
Speaker 1: did King Kong, the nineteen thirty three King Kong. Yeah,

789
00:39:30,280 --> 00:39:33,399
Speaker 1: and if you look back at this, you're like, this

790
00:39:33,480 --> 00:39:37,239
Speaker 1: is this is cool. But if you research what was

791
00:39:37,320 --> 00:39:40,319
Speaker 1: done to create this, you're just blown away by it.

792
00:39:40,480 --> 00:39:45,600
Speaker 2: Yeah. Again, many processes coming together to create that nineteen

793
00:39:45,640 --> 00:39:48,480
Speaker 2: thirty three version of King Kong. And that fight looks

794
00:39:48,520 --> 00:39:51,640
Speaker 2: good still. I mean, it doesn't look realistic, but consider

795
00:39:51,719 --> 00:39:52,680
Speaker 2: the year it looks awesome.

796
00:39:52,760 --> 00:39:54,759
Speaker 1: It does, and it's about three three and a half

797
00:39:54,800 --> 00:39:59,239
Speaker 1: minutes long. King Kong fighting the Tyrannosaurs recks. But it

798
00:39:59,280 --> 00:40:02,359
Speaker 1: took seven weeks the film. Yeah, because there's twenty four

799
00:40:02,400 --> 00:40:06,399
Speaker 1: frames shot per second in a film, that's right, and

800
00:40:06,960 --> 00:40:11,680
Speaker 1: for every frame they moved the models a little bit

801
00:40:11,760 --> 00:40:15,360
Speaker 1: here or there. Yeah, so that's why it took seven

802
00:40:15,360 --> 00:40:17,080
Speaker 1: weeks just for that fight scene. I think it was

803
00:40:17,160 --> 00:40:20,600
Speaker 1: fifty five weeks for all of the stop motion photography

804
00:40:20,719 --> 00:40:21,880
Speaker 1: that was done in that movie.

805
00:40:22,320 --> 00:40:23,760
Speaker 2: Yeah, that's impressive.

806
00:40:23,880 --> 00:40:26,360
Speaker 1: It really is impressive, especially when you realize the trouble

807
00:40:26,400 --> 00:40:27,880
Speaker 1: they went to when you go back and watch it,

808
00:40:28,000 --> 00:40:29,240
Speaker 1: like this is pretty nuts.

809
00:40:29,400 --> 00:40:33,759
Speaker 2: Yeah. Ray Harryhausen continued the work of Willis O'Brien and

810
00:40:33,920 --> 00:40:36,240
Speaker 2: very famously in like the fifties and sixties with movies

811
00:40:36,239 --> 00:40:38,080
Speaker 2: like Jason and the Argonauts.

812
00:40:37,560 --> 00:40:40,320
Speaker 1: And Clash of the Titans. Yeah, I remember Medusa, Sure,

813
00:40:40,640 --> 00:40:41,520
Speaker 1: Scary Lady.

814
00:40:41,640 --> 00:40:43,319
Speaker 2: Yeah, that had to be toward the end of his career,

815
00:40:43,320 --> 00:40:44,560
Speaker 2: I guess because that was in the eighties.

816
00:40:44,680 --> 00:40:47,839
Speaker 1: Yeah, I think like eighty one maybe remember The Minute

817
00:40:47,880 --> 00:40:48,640
Speaker 1: Tar two Man.

818
00:40:48,760 --> 00:40:51,279
Speaker 2: That was cool movie. That was a big movie for

819
00:40:51,320 --> 00:40:51,919
Speaker 2: me as a kid.

820
00:40:52,120 --> 00:40:54,799
Speaker 1: Yeah, and I was like when La Law came along,

821
00:40:54,840 --> 00:40:57,560
Speaker 1: I was like, I know that guy. That's right, there's

822
00:40:57,600 --> 00:40:59,040
Speaker 1: the Titans guy.

823
00:41:00,400 --> 00:41:03,640
Speaker 2: We should shout out Millicent Patrick. This is a very

824
00:41:03,640 --> 00:41:07,600
Speaker 2: interesting story. She was one of the only, well first

825
00:41:07,600 --> 00:41:10,319
Speaker 2: and only women working in special effects back in the day.

826
00:41:10,840 --> 00:41:14,080
Speaker 2: And she created the very famous mask of the gill

827
00:41:14,200 --> 00:41:17,080
Speaker 2: Man from Creature from the Black Lagoon in the mid

828
00:41:17,160 --> 00:41:22,000
Speaker 2: nineteen fifties and was unceremoniously fired.

829
00:41:21,920 --> 00:41:24,280
Speaker 1: Not just fired, stricken from the credits.

830
00:41:24,480 --> 00:41:27,719
Speaker 2: Yeah, this guy named Bud Wesmore he assisted her and

831
00:41:27,760 --> 00:41:30,880
Speaker 2: then basically had her fired rather than give her the

832
00:41:30,920 --> 00:41:33,400
Speaker 2: credit for the mask, which he would take credit for.

833
00:41:33,360 --> 00:41:35,560
Speaker 1: Because I think he was the supervisor in charge of

834
00:41:35,560 --> 00:41:37,240
Speaker 1: effects or costume or something.

835
00:41:37,320 --> 00:41:39,680
Speaker 2: Oh thought, I guess he assisted her, but he was

836
00:41:39,719 --> 00:41:40,200
Speaker 2: her boss.

837
00:41:40,480 --> 00:41:43,879
Speaker 1: Yeah, okay, but like she very clearly on her own

838
00:41:43,960 --> 00:41:46,480
Speaker 1: came up with the gil Man for yeah, the creature

839
00:41:46,480 --> 00:41:46,680
Speaker 1: from the.

840
00:41:46,840 --> 00:41:49,320
Speaker 2: And this has only come out in the last few years.

841
00:41:49,480 --> 00:41:53,560
Speaker 2: They've kind of dug up the original stuff. And yeah,

842
00:41:53,600 --> 00:41:57,840
Speaker 2: sexism just basically pushed her out of the industry altogether. Yeah,

843
00:41:57,960 --> 00:41:58,440
Speaker 2: very sad.

844
00:41:58,640 --> 00:42:00,799
Speaker 1: She's starting to get her due now though, which is good.

845
00:42:00,960 --> 00:42:01,879
Speaker 2: Yeah, that is very good.

846
00:42:02,960 --> 00:42:08,360
Speaker 1: There's Dick Smith was amazing. He created the squib Oh really, Yeah,

847
00:42:08,400 --> 00:42:10,880
Speaker 1: he's a he's a very famous makeup artist. He's really

848
00:42:10,920 --> 00:42:12,560
Speaker 1: good at making people look aged.

849
00:42:13,239 --> 00:42:16,719
Speaker 2: Yeah. He made forty seven year old Marlon Brando look

850
00:42:17,160 --> 00:42:20,920
Speaker 2: much over five than the Godfather. Oh yeah, yeah he

851
00:42:20,920 --> 00:42:23,000
Speaker 2: was only he was a year younger than me. Brando.

852
00:42:23,520 --> 00:42:24,360
Speaker 1: I never thought about it.

853
00:42:24,480 --> 00:42:24,879
Speaker 2: That nuts.

854
00:42:24,880 --> 00:42:27,440
Speaker 1: Wow, he really is good. He also did Death Becoms Her,

855
00:42:27,480 --> 00:42:29,360
Speaker 1: which is one of the all time great movies.

856
00:42:29,440 --> 00:42:32,319
Speaker 2: Yeah, yeah for sure. And The Exorcist yep, and.

857
00:42:32,360 --> 00:42:35,840
Speaker 1: Scanners and have you ever seen Ghost Story from nineteen

858
00:42:35,840 --> 00:42:38,719
Speaker 1: eighty one? Oh yeah, yeah, very scary movie. The old

859
00:42:38,760 --> 00:42:40,359
Speaker 1: dudes he did, he did that.

860
00:42:41,360 --> 00:42:44,439
Speaker 2: What else? Very famously aged Dustin Hoffman a little big

861
00:42:44,480 --> 00:42:46,400
Speaker 2: man by many many years.

862
00:42:46,600 --> 00:42:46,920
Speaker 1: Sure.

863
00:42:47,440 --> 00:42:52,520
Speaker 2: And then in the last like twenty five thirty years,

864
00:42:53,640 --> 00:42:55,640
Speaker 2: Rick Baker and stan Winston.

865
00:42:55,760 --> 00:42:58,200
Speaker 1: Stan Winston's He's got my vote.

866
00:42:58,280 --> 00:43:02,920
Speaker 2: Yeah, I mean these two guys were both just creative

867
00:43:03,000 --> 00:43:07,520
Speaker 2: leaders in the industry and trailblazers in the industry, and

868
00:43:08,000 --> 00:43:11,359
Speaker 2: as Ed says in here, like mentored a generation of

869
00:43:11,600 --> 00:43:16,040
Speaker 2: special effects employees, employees, creators, artists.

870
00:43:16,320 --> 00:43:20,200
Speaker 1: Sure, all three of those Lord gig workers.

871
00:43:20,520 --> 00:43:23,600
Speaker 2: Rick Baker American Werewolf in London in nineteen eighty one,

872
00:43:23,600 --> 00:43:27,000
Speaker 2: which still holds up. The thriller video in nineteen eighty

873
00:43:27,000 --> 00:43:30,600
Speaker 2: three Star Wars, Moss Isley Cantina. He made all those.

874
00:43:30,920 --> 00:43:33,919
Speaker 1: Yeah, did you know that about the Moss Eisley Cantina. Sure,

875
00:43:34,120 --> 00:43:37,759
Speaker 1: I didn't know that. He was almost single handily respondib Yeah,

876
00:43:37,800 --> 00:43:38,319
Speaker 1: for all of them.

877
00:43:38,400 --> 00:43:40,560
Speaker 2: And then stan Winston, you got to talk about movies

878
00:43:40,600 --> 00:43:43,719
Speaker 2: like The Thing and Predator and Terminator and they both

879
00:43:43,719 --> 00:43:46,120
Speaker 2: have set up you know, foundations and schools and things

880
00:43:46,160 --> 00:43:46,440
Speaker 2: like that.

881
00:43:46,760 --> 00:43:51,279
Speaker 1: Stan Winston also did the makeup for what I think

882
00:43:51,360 --> 00:43:54,399
Speaker 1: is maybe the best slash film of all time, Friday

883
00:43:54,440 --> 00:43:55,439
Speaker 1: the Thirteenth Part two.

884
00:43:56,440 --> 00:43:59,000
Speaker 2: Yeah, two is when Jason comes along, right.

885
00:43:59,000 --> 00:44:02,040
Speaker 1: Yes, it's before he got his mask. He gets his

886
00:44:02,120 --> 00:44:04,840
Speaker 1: mask in three. I think the Fria thirteenth franchise is

887
00:44:04,840 --> 00:44:06,400
Speaker 1: as good as it gets for horror movies.

888
00:44:06,640 --> 00:44:08,520
Speaker 2: I dropped off at a certain point. Did you see

889
00:44:08,520 --> 00:44:09,040
Speaker 2: all those?

890
00:44:09,280 --> 00:44:11,120
Speaker 1: No? No, I still haven't seen all of them, but

891
00:44:11,280 --> 00:44:15,440
Speaker 1: even just putting like the first five or six up, Yeah,

892
00:44:15,520 --> 00:44:18,040
Speaker 1: I think it's like watching him again as an adult.

893
00:44:18,120 --> 00:44:19,560
Speaker 1: I'm like, these are really good.

894
00:44:19,680 --> 00:44:19,879
Speaker 2: Yeah.

895
00:44:20,000 --> 00:44:22,400
Speaker 1: Splisher films like even better than I remember for me

896
00:44:22,440 --> 00:44:26,399
Speaker 1: and a kid. Yeah, And the reason stan Winston filled

897
00:44:26,440 --> 00:44:28,960
Speaker 1: in for Friday the Thirteenth Part two is because the

898
00:44:28,960 --> 00:44:31,719
Speaker 1: guy who did Friday thirteenth, the first one. Tom Savini

899
00:44:32,080 --> 00:44:35,000
Speaker 1: was unavailable. He was off doing Creep Show, I believe.

900
00:44:35,320 --> 00:44:37,120
Speaker 1: But Tom Savini's another legend.

901
00:44:37,280 --> 00:44:40,799
Speaker 2: I think they're redoing Creep Show, are they? Okay? I'd

902
00:44:40,800 --> 00:44:44,319
Speaker 2: watched that different stories? Oh even better, I think, if

903
00:44:44,320 --> 00:44:45,040
Speaker 2: I'm not mistaken.

904
00:44:45,239 --> 00:44:45,479
Speaker 1: Nice.

905
00:44:45,480 --> 00:44:48,319
Speaker 2: But yeah, Savini is well known for being sort of

906
00:44:48,360 --> 00:44:50,120
Speaker 2: the godfather of Gore.

907
00:44:50,320 --> 00:44:52,920
Speaker 1: Yeah, he did Maniac Did you ever see that? Yeah,

908
00:44:53,080 --> 00:44:56,200
Speaker 1: that was off the Rocker movie.

909
00:44:56,840 --> 00:45:01,440
Speaker 2: And then these days there are companies I and Wetta,

910
00:45:01,920 --> 00:45:05,840
Speaker 2: ILM Industrial Light and Magic is Lucas's company, and they're

911
00:45:05,840 --> 00:45:11,680
Speaker 2: cool because they invented this stuff because Lucas needed stuff

912
00:45:11,719 --> 00:45:13,640
Speaker 2: to be done that couldn't be done right, and he

913
00:45:13,760 --> 00:45:15,279
Speaker 2: was like, go figure out how to do it.

914
00:45:15,760 --> 00:45:17,040
Speaker 1: And they did, they really did.

915
00:45:17,480 --> 00:45:20,480
Speaker 2: And then WETA is Peter Jackson's company. Oh okay, and

916
00:45:20,560 --> 00:45:23,359
Speaker 2: he's the one that has really pioneered the mo cap,

917
00:45:23,400 --> 00:45:25,200
Speaker 2: the motion capture techniques.

918
00:45:25,640 --> 00:45:28,400
Speaker 1: Where a person's wearing like a suit and the suit

919
00:45:28,440 --> 00:45:30,960
Speaker 1: has a bunch of different kind of like almost ping

920
00:45:31,040 --> 00:45:34,040
Speaker 1: pong balls all over it. Yeah, at like joints and

921
00:45:34,160 --> 00:45:38,200
Speaker 1: crucial places where the body moves and the actor stunt

922
00:45:38,200 --> 00:45:41,319
Speaker 1: person or dance or whoever wearing the suit goes through

923
00:45:41,360 --> 00:45:42,719
Speaker 1: the motions and.

924
00:45:42,640 --> 00:45:44,560
Speaker 2: Then they're just going through the motions.

925
00:45:44,600 --> 00:45:48,239
Speaker 1: Sure, and that those motions that what's captured is fed

926
00:45:48,280 --> 00:45:51,160
Speaker 1: into a computer and the computer generates a character doing

927
00:45:51,200 --> 00:45:53,640
Speaker 1: all those same motions, creating the performance. But it's a

928
00:45:53,640 --> 00:45:55,520
Speaker 1: computer generated character. Yeah.

929
00:45:55,560 --> 00:45:58,040
Speaker 2: I don't think he was the first, but the Gollum

930
00:45:58,160 --> 00:46:01,640
Speaker 2: character in those Lord of the Rings movies was really

931
00:46:01,680 --> 00:46:06,200
Speaker 2: one of the first, really terrific looking fully CGI character.

932
00:46:06,520 --> 00:46:09,800
Speaker 1: Yeah. I found, from what I could tell, the first

933
00:46:10,360 --> 00:46:14,080
Speaker 1: full CGI character ever in a movie. You want to guess,

934
00:46:14,160 --> 00:46:14,960
Speaker 1: you'll never guess.

935
00:46:15,880 --> 00:46:18,040
Speaker 2: Well, I mean it's touted as Indiana Jones in The

936
00:46:18,120 --> 00:46:22,200
Speaker 2: Last Crusade. Wrong, really, what is it going to be?

937
00:46:22,239 --> 00:46:26,960
Speaker 1: It's another Spielberg movie. Okay, it's young Sherlock Holmes. Well

938
00:46:27,040 --> 00:46:29,279
Speaker 1: you remember the Stained Glass Night that comes to life

939
00:46:29,280 --> 00:46:32,040
Speaker 1: and tries to slash one of them with his sword.

940
00:46:32,920 --> 00:46:37,640
Speaker 1: First full CGI character in a movie, Well, why, I

941
00:46:37,680 --> 00:46:39,840
Speaker 1: don't know, but that's what I could find, and that

942
00:46:39,840 --> 00:46:41,120
Speaker 1: one's from nineteen eighty five.

943
00:46:42,040 --> 00:46:46,719
Speaker 2: Well, it says maybe there's it's in the nitpicky language

944
00:46:46,760 --> 00:46:51,960
Speaker 2: because in the Last Crusade when Walter Donovan's face melts

945
00:46:52,080 --> 00:46:54,120
Speaker 2: and turns to dust when he drinks from the chalice.

946
00:46:54,520 --> 00:46:57,719
Speaker 1: That's in Writers of the Lost Arc, isn't it?

947
00:46:57,840 --> 00:47:00,640
Speaker 2: Oh No, you're right, You're right lastad okay, Yeah, says here.

948
00:47:00,719 --> 00:47:03,759
Speaker 2: It was the first ever digital composite of a full

949
00:47:03,800 --> 00:47:05,200
Speaker 2: screen live action image.

950
00:47:06,280 --> 00:47:07,880
Speaker 1: There's something in the language there.

951
00:47:07,760 --> 00:47:09,920
Speaker 2: Yeah, because it was a full screen or something.

952
00:47:10,160 --> 00:47:14,480
Speaker 1: This was the gotcha. This was the first CGI, but

953
00:47:14,560 --> 00:47:18,560
Speaker 1: it wasn't the first CGI image. This is the first

954
00:47:18,560 --> 00:47:22,240
Speaker 1: moving CGI image. Is the first CGI image was in Looker?

955
00:47:22,480 --> 00:47:23,480
Speaker 1: Remember that movie.

956
00:47:23,640 --> 00:47:26,600
Speaker 2: I totally saw Looker. Yeah, that was a big HBO

957
00:47:26,680 --> 00:47:27,080
Speaker 2: movie for.

958
00:47:27,080 --> 00:47:29,840
Speaker 1: Me for sure. Same here it was Looker Runaway.

959
00:47:30,080 --> 00:47:33,120
Speaker 2: Uh huh, Kroll Runaway. It's Tom Selleck yeah.

960
00:47:32,960 --> 00:47:33,840
Speaker 1: And Gene Simmons.

961
00:47:33,960 --> 00:47:36,400
Speaker 2: Yeah, in the bad Guy's right. That's all Kroll a

962
00:47:36,400 --> 00:47:39,719
Speaker 2: lot too. Oh yeah. Looker had Albert Finnie, right, if

963
00:47:39,760 --> 00:47:40,839
Speaker 2: I remember correctly.

964
00:47:40,520 --> 00:47:41,959
Speaker 1: Albert Finnie and Susan Day.

965
00:47:42,080 --> 00:47:43,799
Speaker 2: Yeah. Susan Day Yeah.

966
00:47:44,080 --> 00:47:45,240
Speaker 1: Written by Michael Crichton.

967
00:47:45,280 --> 00:47:47,279
Speaker 2: I think that was the first full body three D

968
00:47:47,440 --> 00:47:51,080
Speaker 2: human but it did not move. It was static. Yeah,

969
00:47:51,120 --> 00:47:55,720
Speaker 2: and the very first computer generated effects period, funny enough,

970
00:47:56,440 --> 00:48:00,239
Speaker 2: were used to replicate computer screens, so whenever where you

971
00:48:00,239 --> 00:48:03,560
Speaker 2: would see a computer screen in like Westworld or Aliens

972
00:48:03,640 --> 00:48:06,280
Speaker 2: or Star Wars, and they're like, what is the computer

973
00:48:06,600 --> 00:48:09,799
Speaker 2: going to look like? You know? Not now that that

974
00:48:09,960 --> 00:48:12,319
Speaker 2: was the first time they used computer generated imaging was

975
00:48:12,360 --> 00:48:14,880
Speaker 2: to yeah, make a fake computer screen.

976
00:48:15,200 --> 00:48:19,560
Speaker 1: And the first full CGI scene ever done was in

977
00:48:19,600 --> 00:48:21,960
Speaker 1: The Wrath of Khan, which I believe came out in

978
00:48:22,040 --> 00:48:25,880
Speaker 1: nineteen eighty two. But there's a genesis like Earth being

979
00:48:25,960 --> 00:48:28,880
Speaker 1: you know, like cooling and turning into the Earth, and

980
00:48:28,920 --> 00:48:32,400
Speaker 1: there's this amazing shots around it. That's all CGI. And

981
00:48:32,440 --> 00:48:36,200
Speaker 1: that was the first one, and Tron I thought for

982
00:48:36,239 --> 00:48:39,520
Speaker 1: sure Tron would have been among the first. Apparently most

983
00:48:39,560 --> 00:48:43,160
Speaker 1: of that was animated by humans, not computers. That's right,

984
00:48:43,520 --> 00:48:47,000
Speaker 1: The like all the glowing lines, all that stuff animated,

985
00:48:47,239 --> 00:48:49,960
Speaker 1: which makes it nuts that they were able to create that.

986
00:48:50,239 --> 00:48:54,160
Speaker 2: Yeah. Now the big thing is is the aging technique

987
00:48:54,200 --> 00:48:55,520
Speaker 2: that they're getting better and better?

988
00:48:55,719 --> 00:48:56,520
Speaker 1: Yeah, they really are.

989
00:48:57,000 --> 00:49:00,239
Speaker 2: Yeah. So the new Scorsese pick the Irishman I think

990
00:49:00,320 --> 00:49:02,640
Speaker 2: d ages and it has taken a long time to

991
00:49:02,640 --> 00:49:04,839
Speaker 2: get out because it's the d aging didn't look good

992
00:49:04,880 --> 00:49:08,120
Speaker 2: enough for Scorsez, so they have d aged de Naro.

993
00:49:08,640 --> 00:49:12,360
Speaker 2: And then I saw this new Angle movie Jemini Man,

994
00:49:12,920 --> 00:49:17,080
Speaker 2: where Will Smith of now he plays an assassin and

995
00:49:17,120 --> 00:49:21,960
Speaker 2: he has to go kill his younger self Looper. Uh yeah,

996
00:49:22,040 --> 00:49:24,560
Speaker 2: sort of like Looper, I guess. But this Gemini Man

997
00:49:24,640 --> 00:49:26,680
Speaker 2: script has been in development for like twenty five years

998
00:49:26,680 --> 00:49:28,640
Speaker 2: with various people attached, but they could never do.

999
00:49:28,640 --> 00:49:29,880
Speaker 1: It because of the technology.

1000
00:49:30,200 --> 00:49:32,759
Speaker 2: Yeah, huh, it's finally here. But here's the thing I

1001
00:49:32,760 --> 00:49:35,560
Speaker 2: didn't know. Like, I've seen this trailer and I'm like, man,

1002
00:49:35,600 --> 00:49:37,960
Speaker 2: that the aging looks great. They didn't d age him.

1003
00:49:38,040 --> 00:49:41,120
Speaker 2: It is a fully CGI Will Smith. Oh, and it

1004
00:49:41,120 --> 00:49:43,399
Speaker 2: looks that really the younger version is yeah.

1005
00:49:43,440 --> 00:49:43,760
Speaker 1: Wow.

1006
00:49:43,840 --> 00:49:45,200
Speaker 2: So I was like, man, they're getting so good at

1007
00:49:45,239 --> 00:49:48,759
Speaker 2: the d that's amazing. So he mowcapped his whole performance

1008
00:49:48,840 --> 00:49:53,800
Speaker 2: motion captured and they just used fresh Prince photos.

1009
00:49:53,480 --> 00:49:57,240
Speaker 1: And they just basically deep faked them sort of Prince.

1010
00:49:57,760 --> 00:49:59,480
Speaker 2: Have you seen the Bill Hayder deep fake that's going

1011
00:49:59,520 --> 00:50:03,680
Speaker 2: around now. It's pretty cool. Yeah, because he goes from

1012
00:50:03,800 --> 00:50:08,120
Speaker 2: Hater to Tom Cruise to seth Rogan back to Tom Cruise.

1013
00:50:08,160 --> 00:50:09,440
Speaker 2: It's like kind of all over the place.

1014
00:50:09,760 --> 00:50:11,440
Speaker 1: It's really well done.

1015
00:50:12,200 --> 00:50:14,320
Speaker 2: And then, you know, like we said, they use CGI

1016
00:50:14,760 --> 00:50:18,040
Speaker 2: for so many movies little mistakes that can be corrected,

1017
00:50:18,480 --> 00:50:20,720
Speaker 2: little things that it's just much cheaper to add digitally

1018
00:50:20,800 --> 00:50:24,279
Speaker 2: later on. It could be a movie that, like I said,

1019
00:50:24,360 --> 00:50:27,480
Speaker 2: looks like it has no CGI whatsoever, and it's cheaper

1020
00:50:27,520 --> 00:50:30,200
Speaker 2: to put a plate of food in the background digitally

1021
00:50:30,239 --> 00:50:33,400
Speaker 2: than cook the food and put it on set, right,

1022
00:50:33,520 --> 00:50:36,600
Speaker 2: which is that's a bad example. Or you can color

1023
00:50:36,600 --> 00:50:39,520
Speaker 2: grate a movie you completely change, like the movie Oh Brother,

1024
00:50:39,560 --> 00:50:43,480
Speaker 2: where Art Thou has that yellow hue for everything. All

1025
00:50:43,520 --> 00:50:45,239
Speaker 2: that stuff is green. You know, they're in the Deep

1026
00:50:45,280 --> 00:50:46,799
Speaker 2: South in the summertime.

1027
00:50:46,600 --> 00:50:49,120
Speaker 1: And they used to have to like film it at

1028
00:50:49,160 --> 00:50:52,480
Speaker 1: some weird exposure and then project it at another exposure

1029
00:50:52,480 --> 00:50:57,400
Speaker 1: to some filter and then the optical the negative. Yeah,

1030
00:50:57,560 --> 00:50:59,720
Speaker 1: now they can just do it all with a computer,

1031
00:51:00,040 --> 00:51:00,640
Speaker 1: easy peasy.

1032
00:51:00,800 --> 00:51:04,759
Speaker 2: It's great. Anything else, I'm kind of looking around, but

1033
00:51:05,520 --> 00:51:08,880
Speaker 2: this is like one eighth of this topic.

1034
00:51:09,040 --> 00:51:12,840
Speaker 1: Yeah, hopefully it made you appreciate movies more. Yeah, you

1035
00:51:12,920 --> 00:51:18,600
Speaker 1: specifically me, I know you love the movies. Sure, if

1036
00:51:18,680 --> 00:51:20,680
Speaker 1: you want to know more about movies, go listen to

1037
00:51:20,760 --> 00:51:22,600
Speaker 1: Chuck's podcast movie Crush. You'll love it.

1038
00:51:22,640 --> 00:51:22,799
Speaker 2: Hey.

1039
00:51:22,840 --> 00:51:25,680
Speaker 1: Thanks, And since I said movie Crush, it's time for

1040
00:51:25,760 --> 00:51:26,719
Speaker 1: listener mail.

1041
00:51:29,200 --> 00:51:31,080
Speaker 2: And actually, since you said movie crush, we're about to

1042
00:51:31,120 --> 00:51:33,640
Speaker 2: release an episode on The Matrix. Oh, I hadn't seen

1043
00:51:33,640 --> 00:51:35,839
Speaker 2: that movie. It's been twenty years since it came out.

1044
00:51:35,920 --> 00:51:37,160
Speaker 1: You've never seen The Matrix.

1045
00:51:37,200 --> 00:51:39,440
Speaker 2: No, I hadn't seen it in a long time. Gotcha,

1046
00:51:39,640 --> 00:51:41,920
Speaker 2: But I didn't realize this is the twenty year anniversary.

1047
00:51:41,960 --> 00:51:47,400
Speaker 2: Watched it last night. Still totally holds up, really looks great. Fun. Yeah,

1048
00:51:48,160 --> 00:51:52,160
Speaker 2: well acted by most of the cast members who didn't

1049
00:51:52,200 --> 00:51:55,200
Speaker 2: act well. Oh, you know Ken. It always gets picked on.

1050
00:51:55,400 --> 00:52:00,440
Speaker 2: I love that guy, I know, kung Fu. He's perfect

1051
00:52:00,440 --> 00:52:01,040
Speaker 2: in that role. Though.

1052
00:52:01,160 --> 00:52:03,680
Speaker 1: Yeah, he's great. I can't imagine anybody else and it'd

1053
00:52:03,719 --> 00:52:07,040
Speaker 1: be too just too serious. I think, like, imagine Tom

1054
00:52:07,120 --> 00:52:08,840
Speaker 1: Cruise in that in the major Yeah.

1055
00:52:08,719 --> 00:52:12,200
Speaker 2: You're right. He adds a little like something light, doesn't he.

1056
00:52:12,280 --> 00:52:14,240
Speaker 1: Yeah, it makes it a little more every man, almost

1057
00:52:14,400 --> 00:52:16,120
Speaker 1: a little more believable in a weird way, I think.

1058
00:52:16,200 --> 00:52:18,280
Speaker 2: So do you see those John Wick movies.

1059
00:52:19,680 --> 00:52:21,719
Speaker 1: I've seen some of it. It's just like a little

1060
00:52:21,760 --> 00:52:24,719
Speaker 1: too video gamy for me. Yeah, but I mean it's fine.

1061
00:52:25,600 --> 00:52:27,040
Speaker 1: I respect that people like it.

1062
00:52:27,160 --> 00:52:32,480
Speaker 2: Sure, here we go. Okay, it's about three D. Three D.

1063
00:52:32,560 --> 00:52:35,440
Speaker 2: It's about solar panels. I got movies on the three D.

1064
00:52:35,520 --> 00:52:37,080
Speaker 2: You got the well they are in three D. I

1065
00:52:37,120 --> 00:52:39,600
Speaker 2: guess oat, I got movies on the brain. Hey, guys.

1066
00:52:39,800 --> 00:52:41,439
Speaker 2: Being a roof for my entire life, I never thought

1067
00:52:41,440 --> 00:52:44,240
Speaker 2: I'd have much input until now it's my time to shine.

1068
00:52:45,000 --> 00:52:47,560
Speaker 2: One thing that wasn't mentioned in the solar panel episode

1069
00:52:47,600 --> 00:52:49,920
Speaker 2: is that people really need to consider the age of

1070
00:52:49,920 --> 00:52:52,040
Speaker 2: their existing roof before installing solar pains.

1071
00:52:52,080 --> 00:52:52,960
Speaker 1: Oh that's a good point.

1072
00:52:53,200 --> 00:52:55,960
Speaker 2: A new residential shingle roof should last about thirty years,

1073
00:52:56,480 --> 00:52:58,600
Speaker 2: but at the roof isn't nearly new. I would not

1074
00:52:58,680 --> 00:53:01,000
Speaker 2: suggest installing solar paanpeanels.

1075
00:53:00,480 --> 00:53:04,280
Speaker 1: And definitely don't install it if the roof the roof

1076
00:53:04,320 --> 00:53:05,120
Speaker 1: is on fire.

1077
00:53:05,440 --> 00:53:08,799
Speaker 2: Once the panels are installed, roof repairs or replacement is

1078
00:53:08,960 --> 00:53:12,000
Speaker 2: very difficult and much more expensive. If the life of

1079
00:53:12,000 --> 00:53:15,359
Speaker 2: the roof ends before the solar panels die, you can

1080
00:53:15,400 --> 00:53:18,440
Speaker 2: easily add fifty to seventy five percent or more to

1081
00:53:18,480 --> 00:53:21,480
Speaker 2: the cost of the reroofing due to the added labor

1082
00:53:21,560 --> 00:53:24,880
Speaker 2: costs to remove and reinstall the panels. Yeah, don't you

1083
00:53:24,920 --> 00:53:27,759
Speaker 2: think about that? So you should align it ideally with

1084
00:53:28,040 --> 00:53:31,719
Speaker 2: your new roof. Sure, I do mostly commercial roofing can't

1085
00:53:31,719 --> 00:53:33,319
Speaker 2: tell you the number of customers. So I talk to

1086
00:53:33,440 --> 00:53:35,920
Speaker 2: add solar panels on an old roof and are now

1087
00:53:36,000 --> 00:53:40,280
Speaker 2: paying through the nose for repairs or replacement. Reputable solar

1088
00:53:40,320 --> 00:53:44,520
Speaker 2: panel specialists should have this roof conversation with a potential

1089
00:53:44,560 --> 00:53:48,560
Speaker 2: customer before installing the panels. I'm afraid it doesn't always happen,

1090
00:53:49,440 --> 00:53:53,480
Speaker 2: or customers underestimate the added reroofing costs once they're installed.

1091
00:53:53,800 --> 00:53:55,560
Speaker 1: Man, this is a great PSA.

1092
00:53:55,840 --> 00:53:57,719
Speaker 2: It is thanks again for what you guys do. I'm

1093
00:53:57,719 --> 00:54:00,160
Speaker 2: in my truck a lot driving to different job sites

1094
00:54:00,440 --> 00:54:03,719
Speaker 2: and it's always easier on Tuesday through Thursday. I want

1095
00:54:03,719 --> 00:54:05,640
Speaker 2: to have a new stuff you should know and that

1096
00:54:05,760 --> 00:54:08,480
Speaker 2: is from Owen Sinsinig.

1097
00:54:09,200 --> 00:54:13,320
Speaker 1: Great name, first day and last yep, love the name Owen,

1098
00:54:14,200 --> 00:54:15,640
Speaker 1: Stephen King's kids name.

1099
00:54:16,960 --> 00:54:17,879
Speaker 2: Yeah, Owen King.

1100
00:54:18,360 --> 00:54:20,880
Speaker 1: Thanks a lot, Owen. We appreciate that big time. That

1101
00:54:21,000 --> 00:54:24,160
Speaker 1: was a great email. I would have never thought about that, and.

1102
00:54:24,160 --> 00:54:26,480
Speaker 2: He didn't even send his business and to be plugged.

1103
00:54:26,560 --> 00:54:28,920
Speaker 2: So just google his name and roofing and if he

1104
00:54:28,960 --> 00:54:30,919
Speaker 2: happens to live near you, use him.

1105
00:54:31,200 --> 00:54:32,920
Speaker 1: That's how dedicated this guy is.

1106
00:54:32,960 --> 00:54:33,680
Speaker 2: He sounds honest.

1107
00:54:34,239 --> 00:54:36,560
Speaker 1: Well, if you want to be a cool person like Owen,

1108
00:54:36,640 --> 00:54:37,960
Speaker 1: you can get in touch with us. You can go

1109
00:54:37,960 --> 00:54:39,680
Speaker 1: on to stuff you Should Know dot com and check

1110
00:54:39,680 --> 00:54:42,040
Speaker 1: out our social links. You can also send us an

1111
00:54:42,040 --> 00:54:48,000
Speaker 1: email to stuff podcast at iHeartRadio dot com.

1112
00:54:48,160 --> 00:54:51,040
Speaker 2: Stuff you Should Know is a production of iHeartRadio. For

1113
00:54:51,120 --> 00:54:55,319
Speaker 2: more podcasts my heart Radio, visit the iHeartRadio app, Apple Podcasts,

1114
00:54:55,440 --> 00:54:57,280
Speaker 2: or wherever you listen to your favorite shows.