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Speaker 1: Welcome to Tech Stuff, a production from iHeartRadio. Hey thereon

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Speaker 1: Welcome to Tech Stuff, I'm your host, Jonathan Strickland. I'm

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Speaker 1: an executive producer with iHeart Podcasts and How the tech

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Speaker 1: are you?

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Speaker 2: So?

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Speaker 1: Yesterday we published an episode called Lighting Up the Holidays

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Speaker 1: that originally published back in twenty nineteen. Today, I'm going

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Speaker 1: to do one from twenty seventeen. This is a rerun

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Speaker 1: of an episode called The Tech of Stranger Things. It's

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Speaker 1: still somewhat thematic because we have a discussion about holiday

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Speaker 1: lights in this episode as well. Jess Royle and John

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Speaker 1: Hilton were guests on this episode. Both of them had

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Speaker 1: worked on the set of Stranger Things, and yeah, it

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Speaker 1: was a great discussion about the technical issues that go

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Speaker 1: on to making a show like Stranger Things work, particularly

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Speaker 1: a show that's set in an earlier era, that being

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Speaker 1: the nineteen eighties, and trying to make sure that everything

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Speaker 1: feels genuine. It's actually tricky because, as you are aware,

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Speaker 1: most of us don't hold on to our technology for

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Speaker 1: that long. Making sure we have the right tech is tricky. Anyway,

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Speaker 1: I hope you enjoyed this episode The Tech of Stranger Things,

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Speaker 1: which originally published October twenty fifth, twenty seventeen. I have

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Speaker 1: to thank my two special guests who have joined me

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Speaker 1: for this episode of Tech Stuff, Jess and John, who

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Speaker 1: both have worked on multiple projects, but the one we're

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Speaker 1: talking about specifically today is the Netflix series Stranger Things,

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Speaker 1: a show that I binged immediately when the first season

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Speaker 1: came out and fell in love with it, not just

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Speaker 1: because I recognized some of the people in it, but

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Speaker 1: because it really felt to me like it didn't feel

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Speaker 1: like a show set in the nineteen eighties. It felt

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Speaker 1: like a show that was made in the nineteen eighties

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Speaker 1: and somehow disappeared and then resurfaced twenty years later, and

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Speaker 1: it's it's so evocative, and I wanted to have both

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Speaker 1: of you on to talk about your roles in making

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Speaker 1: this show what it was. So we're gonna talk today

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Speaker 1: about sort of the tech side, the behind the scenes

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Speaker 1: side of making a show and the work that you

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Speaker 1: do and how that ends up contributing to this overall

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Speaker 1: effect whatever the show may be or the movie, whatever

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Speaker 1: the project is. In this case, we're talking about something

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Speaker 1: that is a period piece. But you know, obviously there

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Speaker 1: are other ones where you have a very different feel

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Speaker 1: for whatever the project is. So I'm going to start

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Speaker 1: with you, John, John, you are rigging gaffer.

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Speaker 2: Ye.

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Speaker 1: Tell listeners who have seen I'm sure the term gaffer

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Speaker 1: in the credits what that means, because I think I

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Speaker 1: think a lot of folks just don't know.

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Speaker 3: The gaffer is just a department head that's in charge

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Speaker 3: of the electrical so electrical distribution and lighting. I think

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Speaker 3: the term comes from old man. Yeah, he was the

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Speaker 3: old man on the crew. He's in charge of the lighting.

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Speaker 1: Yeah. They have a the term gaffer in and lord

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Speaker 1: of the rings. Actually, Sam Wise Gamgee's father is called

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Speaker 1: the old gaffer. I say that because of my Lord

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Speaker 1: of the rings geek. So what are your responsibilities.

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Speaker 2: Typically on a shoot as a ring gaffer?

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Speaker 3: I provide the power to the set and any any

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Speaker 3: lighting that we can get up before beforehand before photography,

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Speaker 3: We'll get that done as well.

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Speaker 1: Cool, So you are making sure that all the stuff

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Speaker 1: that needs to work is actually going to work. Yes,

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Speaker 1: an important role on any production. And how did you

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Speaker 1: get your start in the business known as show I was.

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Speaker 3: A nanny for a director of photography in nineteen ninety

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Speaker 3: eight the summer of ninety eight, and I watched his

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Speaker 3: kids during a summer and after at the end of summer,

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Speaker 3: he had me tag along with him to go work

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Speaker 3: on a film. And after the film, he was.

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Speaker 2: Like, oh, you'd be great at this. You should move

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Speaker 2: to LA I got my friends.

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Speaker 3: They can hook you up at a camera rental house

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Speaker 3: and you can do that for a little while. And

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Speaker 3: I was like, I don't want to do that. I

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Speaker 3: want to move to New York City and be a bum.

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Speaker 3: So I didn't get into it right away. I was

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Speaker 3: a maintenance man in an apartment complex and all my

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Speaker 3: tools were stolen.

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Speaker 2: Oh why, And I was like, I'll go work on

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Speaker 2: movies now.

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Speaker 1: A secure circuitus rude to get there. So did you

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Speaker 1: have a background in electrical work before you even got

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Speaker 1: into the movie?

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Speaker 2: A little bit?

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Speaker 3: And I've done like my dad does HVAC, So I

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Speaker 3: kind of dabbled on that and doing the whole and

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Speaker 3: it's for apartment complex thing. I kind of understood electrical systems, right.

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Speaker 1: So you then take that understanding and you start pouring

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Speaker 1: it over to the production side, where I imagine it's.

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Speaker 2: A a fairly.

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Speaker 1: Strenuous process to make sure everything is how it needs

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Speaker 1: to be because Obviously, any time on any set is money,

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Speaker 1: So anything that takes extra time is going to cost

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Speaker 1: the whole production extra amounts of money. So I mentioned

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Speaker 1: this a fairly high stress environment.

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Speaker 2: It is.

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Speaker 3: Yeah, I don't get a lot of sleep. I always

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Speaker 3: called Jesse workaholic, but really it's me. I do it

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Speaker 3: all at home. She doesn't see it.

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Speaker 1: It's fair now, Jess, you you were a set decorator.

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Speaker 1: Are still our sex decorator for Stranger Things. Also, congratulations

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Speaker 1: on getting an Emmy nomination for that work.

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Speaker 4: Thank you.

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Speaker 1: That's amazing. This first time I think I've ever sat

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Speaker 1: down onto the table with an Emmy nominee.

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Speaker 4: Wow.

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Speaker 1: Yeah, it's It's a big moment for me. It's what

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Speaker 1: I'm saying. So let's talk about what that means. What

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Speaker 1: does what is actually set decorator on a set?

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Speaker 5: So I work under the production designer, and the production

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Speaker 5: designer kind of sets the look like, helps pick locations

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Speaker 5: and then you know, has a lot of references and

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Speaker 5: different things as far as the minutia of how a

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Speaker 5: set comes together. There's an art director who kind of

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Speaker 5: oversees more of the construction end of things, and then

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Speaker 5: everything from like those four walls. For the most part,

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Speaker 5: I kind of deal with so light fixtures and you know,

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Speaker 5: carpet and sofas and electronics and all the garbage and

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Speaker 5: some sets and piles up in the clutter.

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Speaker 4: That's my specialty.

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Speaker 1: So when a when the art department has said, like, oh,

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Speaker 1: we've got this idea for what the the feel for

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Speaker 1: this particular set needs to be. Uh, it's your job

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Speaker 1: to go and actually procure all that, put it all together,

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Speaker 1: make sure that it's matching the vision for whatever that

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Speaker 1: idea was. Right, Yes, And on a production that's a

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Speaker 1: period piece, I imagine that also involves lots of hunting

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Speaker 1: around for really obscure and obsolete stuff.

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Speaker 4: It does.

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Speaker 5: I spend a lot of time and I always tell

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Speaker 5: everyone dead ladies, basements of state sales. I'm always like

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Speaker 5: emptying out the leftovers of houses, you know, after a

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Speaker 5: state sales over and you know, and Stranger Things is

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Speaker 5: one of those weird shows, especially where everything's a little

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Speaker 5: bit interactive kind of which is why that's why I

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Speaker 5: wanted John to be here, because he's I think he

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Speaker 5: sold himself short a little bit as far as like

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Speaker 5: just preparing or providing power to a set because we

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Speaker 5: had so many interactive elements, you know, lights and otherwise

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Speaker 5: that kind of had to be period and had to

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Speaker 5: be functional and do a bunch of different things.

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Speaker 1: So yeah, a good example that would be, of course,

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Speaker 1: the Christmas lights make play a huge role in that

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Speaker 1: season of Stranger Things. I mean, it's a communications device,

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Speaker 1: and I don't know how many of my listeners know this.

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Speaker 1: Christmas lights don't work that way. Typically, you have them

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Speaker 1: all rigged up so that if one goes out, they

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Speaker 1: all tend to go out, especially the period ones. So

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Speaker 1: getting them so that they very they light up in

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Speaker 1: very specific ways probably meant a little bit of rewiring

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Speaker 1: work and a little bit of rigging things in an

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Speaker 1: interesting way so that you could get to do it

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Speaker 1: on command. That was such an important integral part of

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Speaker 1: the storyline. I remember.

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Speaker 3: I remember when they came and asked me. They were

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Speaker 3: walking through the buyer's house set. It was Chris and

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Speaker 3: Jess and Todd, and they were like, we want to

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Speaker 3: make each light go off and individually. Is it possible?

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Speaker 2: Yes?

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Speaker 3: And I turned around and I walked back in my

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Speaker 3: little office and I was like, oh no, how am

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Speaker 3: I going to make this?

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Speaker 1: For like technically yes, it's possible. Practical not really, So

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Speaker 1: how did you go about solving that problem?

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Speaker 2: I just started scribbling a lot and locked my door.

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Speaker 3: And just trying to figure out how to get lights

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Speaker 3: to go on and off individually, which means the way

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Speaker 3: had to build individual strands of lights. So I ended up,

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Speaker 3: I guess it's kind of low tech. We're kind of

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Speaker 3: getting a low tech as possible. So I ended up

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Speaker 3: using Cat five cable and taking all the different strands

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Speaker 3: and making them individual and soldering them into old Christmas

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Speaker 3: lights that Jess would bring us Wow.

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Speaker 1: So you were actually hand designing something so that you

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Speaker 1: could achieve this effect in a practical approach. It's one

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Speaker 1: of the other things, by the way, that I love

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Speaker 1: about Stranger Things being I was born in the seventies,

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Speaker 1: So seeing not just something that is set and appears

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Speaker 1: to have been made in the eighties, but to rely

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Speaker 1: so heavily upon practical effects that warms my heart because

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Speaker 1: I grew up watching films that relied heavily on practical effects,

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Speaker 1: and I think it is very important to get across

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Speaker 1: that same feel in order to get the effect that

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Speaker 1: you want and not rely too heavily on anything. That's

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Speaker 1: computer generated. Not to dismiss computer generator, it certainly has

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Speaker 1: a place in storytelling, but to me at least, and

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Speaker 1: maybe this is my own bias, has it just has

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Speaker 1: a different look in a different feel, you know, there's

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Speaker 1: something genuine about practical effects.

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Speaker 5: And not all of ours went. We had different test

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Speaker 5: runs that the Duffers forward they kill if any of

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Speaker 5: those videos ever got out. Some of the ones that

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Speaker 5: didn't work as well, with like the monster coming through

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Speaker 5: our latex we have you know, printed the wallpaper and

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Speaker 5: stuff in the buyer's house onto latex. We had all

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Speaker 5: these different tests we did with various you know, slimy

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Speaker 5: substances and things on. Anyway, they didn't all It took

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Speaker 5: a while to kind of get that just tweaked, you know,

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Speaker 5: just right right the face.

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Speaker 1: Like kind of pushing through the surface of the wall.

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Speaker 5: And originally they had him breaking through the wall entirely.

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Speaker 5: They're trying to do it all practical, and I think

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Speaker 5: it's nice to have technology options where VFX could just

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Speaker 5: take what we did and really enhance it.

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Speaker 1: And you know, right yeah, eventually you get to a

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Speaker 1: point where you just say, you know, physics just doesn't

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Speaker 1: work that way. Yeah, I like, I appreciate where you're

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Speaker 1: trying to go with this. Yeah, I love that there

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Speaker 1: was a latex approach a practical approach with that too,

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Speaker 1: because I mean I also, full disclosure, my sister's a puppeteer,

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Speaker 1: so I see the puppeteer side of sort of this

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Speaker 1: kind of stuff all the time. And to appreciate practical

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Speaker 1: effects where you're using something like a latex sheet and

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Speaker 1: you're using some form of whether it's an actor, a mask,

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Speaker 1: a puppet, or whatever, to create that effect. I mean,

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Speaker 1: there is something really visceral and the textures are really impressive.

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Speaker 1: It's something that goes again beyond just that, Oh, that's

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Speaker 1: a very clever animation, and also that just shows a

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Speaker 1: level of care that you know, you have to have

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Speaker 1: all of that work back behind the scenes to get

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Speaker 1: that effect to happen on screen. That is happening in

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Speaker 1: real time somewhere. It's not a bunch of people staring

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Speaker 1: at a green wall pretending that they see something that

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Speaker 1: is really effective and then having to react to nothing

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Speaker 1: at all. They actually have stuff to react to in

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Speaker 1: those practical effects. I am not an actor that's good

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Speaker 1: enough to react to a green screen and make that

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Speaker 1: at all convincing. I need to have some sort of

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Speaker 1: monster thing coming at me so that I can really,

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Speaker 1: you know, be somewhat convincing in my response.

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Speaker 5: And The Christmas Lives is the same thing, because we

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Speaker 5: you know, I think it looked a lot more authentic

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Speaker 5: and better to have it practical. But even there's like

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Speaker 5: the scene where Holly the young Wheeler daughters like following

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Speaker 5: the Christmas lights down the hallway, and I think if

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Speaker 5: we didn't have all of those actually lighting up in

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Speaker 5: her having that direction and sort of all the interaction

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Speaker 5: you know with the lights and actors, it wouldn't have

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Speaker 5: been the same.

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Speaker 1: No, you wouldn't be able to get that tension. Yeah,

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Speaker 1: that's a great moment, So tell me also, I mean

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Speaker 1: the Christmas lights. I think that's one of those that

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Speaker 1: I that I definitely wanted to hit upon because it's

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Speaker 1: a deceptively simple technology that ends up actually requiring thinking

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Speaker 1: outside the box in order to get the effect they wanted,

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Speaker 1: so requiring you to actually solder things.

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Speaker 2: Weeks weeks weeks of soldering.

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Speaker 1: Wow, So if you had to estimate, like how many

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Speaker 1: weeks are you talking about for that, just to make

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Speaker 1: sure you could get that effect to work properly.

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Speaker 2: It was two two weeks.

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Speaker 1: That's I mean, that's a lot of work to get

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Speaker 1: Christmas lights the light up.

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Speaker 3: I think we only built out of the twenty that

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Speaker 3: we were going to build, we only built seventeen because

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Speaker 3: that's all we had time to do on top of

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Speaker 3: everything else that we had to do.

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Speaker 2: Oh sure, yeah, yeah, So.

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Speaker 5: Because then they would so they would solder these little strands,

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Speaker 5: you know, onto the sockets, and then we had it

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Speaker 5: involved me going back to props the lights that Joyce

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Speaker 5: originally buys at Melvald's Props. I guess it just sort

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Speaker 5: of had newer lights in the box and wasn't really

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Speaker 5: thinking about the bigger picture. So we had to go

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Speaker 5: back and have switched those out for the older strands

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Speaker 5: that have like the green and red twisted.

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Speaker 4: Sort of look right so that we could.

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Speaker 5: That that was the easiest thing for us to copy.

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Speaker 5: So they would finish soldering and then we would paint

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Speaker 5: them green and red and twist them all together.

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Speaker 4: You know. So there's like a whole there's a whole

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Speaker 4: collaborative effort.

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Speaker 1: Serious continuity right there making sure that like because I mean,

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Speaker 1: I see a lot of movies where clearly that that

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Speaker 1: level of care was not quite take and you'll look

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Speaker 1: at something and think like, that's not even the same

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Speaker 1: prop as what he was holding a second ago. So

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Speaker 1: having that kind of level of detail is really cool.

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Speaker 1: So I assumed there was someone just like actually just

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Speaker 1: manually operating those lights.

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Speaker 2: Yeah, for all those sequences, we had our dimmer board

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Speaker 2: operator Jim and doornoman uh huh. He programmed all that.

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Speaker 1: And operate in real Tumbrad in real time. Wow.

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Speaker 5: He's another one of my heroes too, because these guys,

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Speaker 5: because it wasn't because the Christmas lights were one thing.

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Speaker 5: And then there's also like the scene with the lamps

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Speaker 5: in the bedroom and Winona having to you know, bring

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Speaker 5: I guess we never had a scene. At first they

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Speaker 5: were going to show her like bringing all the lamps

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Speaker 5: in and setting them up.

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Speaker 4: And that was going to be like a whole other nightmare.

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Speaker 5: But once they were sort of you know, they are

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Speaker 5: just getting those programmed right to do that effect. Jim

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Speaker 5: stayed late with me one night and just like we did,

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Speaker 5: you know, kept practicing and getting all that down.

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Speaker 1: So see, to me, that's really cool because it's not

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Speaker 1: just technical. It's it's a level of performance. I mean,

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Speaker 1: you're playing effectively another character in the scene, and so

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Speaker 1: you know, there's all the timing that's required in that

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Speaker 1: to and again to get what the director wants in

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Speaker 1: order for that to have the emotional and psychological impact

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Speaker 1: on the viewer, which, by the way, credibly effective.

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Speaker 2: Because I loved it.

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Speaker 1: So you know, my hat's off to you, because I

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Speaker 1: occasionally am a performer, but I couldn't do any of

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Speaker 1: the rest of it, whereas you guys are doing all

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Speaker 1: of that. So I'm really I'm really impressed. I assume

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Speaker 1: that it's is pretty tricky outfitting entire sets with nineteen

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Speaker 1: eighties era carbeting, furniture, the technology in particular, because we're

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Speaker 1: not so far removed from the nineteen eighties that we

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Speaker 1: think of those things as antiques. So therefore there's not

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Speaker 1: a lot of work and preserve preserving them, but we're

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Speaker 1: far enough out where nobody wants to hold onto them anymore.

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Speaker 1: So was was that a challenge to you to find

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Speaker 1: things that could incorporate that could live in that early

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Speaker 1: eighties setting?

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Speaker 5: Not as hard as you would think, I think, mostly

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Speaker 5: just because thank God for State sales and Atlanta being

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Speaker 5: a good a state sales city. I've worked in other

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Speaker 5: cities where you just don't you know, they just don't

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Speaker 5: operate like that, you know. I don't know how people

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Speaker 5: get rid of their stuff after they've passed. I don't know,

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Speaker 5: but Atlanta is good about it. There are other like

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Speaker 5: I've done other movies. I did a movie that it

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Speaker 5: was a news station set in the seventies, and that's

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Speaker 5: one of those like there's already not a ton of

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Speaker 5: like news broadcast station equipment out there, not like you know,

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Speaker 5: old Nintendos and things, but and then it.

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Speaker 4: Was so fragile.

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Speaker 5: It was sort of that like just that first wave

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Speaker 5: of like electronic technology and the old analog stuff from

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Speaker 5: like the fifties was you can get that kind of stuff,

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Speaker 5: but that's but getting stuff that worked that was That's

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Speaker 5: sort of that. That first generation plastic electronic disposable almost

336
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Speaker 5: like technologies was harder. But fortunately for you know, Sears

337
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Speaker 5: catalog days, a lot of Americans all had the same stuff,

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Speaker 5: and enough people held onto it her pack rats that

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Speaker 5: we could kind of curate and go through and find

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Speaker 5: everything we needed.

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Speaker 1: Yeah, I went to a panel with the art director

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Speaker 1: from Stranger Things, and he talked a little bit about

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Speaker 1: the process of identifying the different the different types of

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Speaker 1: fabrics and the different color schemes that were going to

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Speaker 1: be important, and how you know, certain certain houses were

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Speaker 1: going to look like they were more of a holdover

347
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Speaker 1: from maybe the mid to late seventies and some were

348
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Speaker 1: a little bit more modern in the sense of the

349
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Speaker 1: early eighties. And and that also was really interesting to me,

350
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Speaker 1: this idea of you know, you're not just you're not

351
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Speaker 1: just creating creating a huge pile of stuff from a

352
00:19:02,320 --> 00:19:05,320
Speaker 1: general era. You actually have to give each of these

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Speaker 1: places its own personality.

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Speaker 5: Well that's yeah, there is a I tell people the

355
00:19:09,359 --> 00:19:11,880
Speaker 5: story that one of our accountants came to me after

356
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Speaker 5: we were like up and filming the first week or

357
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Speaker 5: so on stage, and she said, you know, Jess, I

358
00:19:18,240 --> 00:19:20,800
Speaker 5: saw your sets. They look really great, but gosh, like

359
00:19:21,000 --> 00:19:23,120
Speaker 5: is this this is the eighties and they look very

360
00:19:23,160 --> 00:19:25,200
Speaker 5: seventies to me? And I was, you know, and it's

361
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Speaker 5: one of those like not every socioeconomic group is going

362
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Speaker 5: to just instantly have you know, the late eighties. Yeah,

363
00:19:32,320 --> 00:19:35,080
Speaker 5: from like that series catalog that year. It's all it's

364
00:19:35,080 --> 00:19:37,320
Speaker 5: more of a you know, when did they build the house,

365
00:19:37,400 --> 00:19:40,240
Speaker 5: When would they have you know, renovated or what's there?

366
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Speaker 5: You know, did they have the means to update the carpet, wallpaper, whatever,

367
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Speaker 5: And kind of have to just think it through each

368
00:19:47,080 --> 00:19:50,200
Speaker 5: character having its own sort of storyline with their home.

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Speaker 1: Yeah, keeping everything consistent. I mean that is clearly very

370
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Speaker 1: important if you want to establish things, like, you know,

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Speaker 1: a believable character. It would be weird to go into

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Speaker 1: a home of a person who was presumably just scraping

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Speaker 1: by and you see what appears to be a brand

374
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Speaker 1: new Apple two gs in the background. You're like, that's

375
00:20:11,880 --> 00:20:13,960
Speaker 1: a couple of grand Where did they get that money

376
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Speaker 1: for that?

377
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Speaker 2: They?

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Speaker 1: Yeah?

379
00:20:15,440 --> 00:20:15,760
Speaker 2: Yeah.

380
00:20:15,800 --> 00:20:19,840
Speaker 1: So was there anything in particular that you either of

381
00:20:19,880 --> 00:20:24,800
Speaker 1: you that you think was really interesting or really cool? Uh,

382
00:20:25,240 --> 00:20:29,280
Speaker 1: something that you had not anticipated? Uh that you know,

383
00:20:29,440 --> 00:20:31,800
Speaker 1: that's like your go to, Like, you know, if people

384
00:20:31,840 --> 00:20:33,399
Speaker 1: were asking you, what was it, like, You're like, well,

385
00:20:33,480 --> 00:20:35,480
Speaker 1: let me tell you this particular thing that I was

386
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Speaker 1: really excited about, whether it was something that turned out

387
00:20:38,760 --> 00:20:40,760
Speaker 1: the way you expected at the beginning or something that

388
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Speaker 1: completely went a different direction.

389
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Speaker 3: Getting getting invited back to season two, that was that's good.

390
00:20:48,560 --> 00:20:49,080
Speaker 2: That's good.

391
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Speaker 1: I think if you were able to take all of

392
00:20:51,480 --> 00:20:53,960
Speaker 1: those Christmas lights and make them light up individually, that's

393
00:20:54,000 --> 00:20:55,040
Speaker 1: a really good start.

394
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Speaker 4: I don't know, I don't.

395
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Speaker 5: I mean that's what I was thrilled to be here

396
00:21:01,000 --> 00:21:03,800
Speaker 5: today and asked John to come too, because for me,

397
00:21:04,000 --> 00:21:08,919
Speaker 5: that sort of like collaborative overlap my thing. And he

398
00:21:09,040 --> 00:21:11,919
Speaker 5: knows as well. Is it like today in film, Like

399
00:21:12,000 --> 00:21:15,760
Speaker 5: everyone loves led lights lighting, even if they're trying to

400
00:21:15,760 --> 00:21:17,640
Speaker 5: make even if it is like period or they want

401
00:21:17,640 --> 00:21:21,360
Speaker 5: it to look you know, period, they still kind of

402
00:21:21,400 --> 00:21:24,080
Speaker 5: fall back on LEDs because they're easier to control and sure,

403
00:21:24,280 --> 00:21:27,959
Speaker 5: and I kind of hate them, so I mean, I'm

404
00:21:28,000 --> 00:21:30,160
Speaker 5: coming around to some of them, but anyway to have them,

405
00:21:30,560 --> 00:21:33,600
Speaker 5: to have our electrical department have the patients to kind

406
00:21:33,600 --> 00:21:35,520
Speaker 5: of like really do it right and work with the

407
00:21:35,560 --> 00:21:38,959
Speaker 5: older technology, and you know that that was a it

408
00:21:39,000 --> 00:21:40,040
Speaker 5: was a long process.

409
00:21:40,080 --> 00:21:42,359
Speaker 2: But the fluorescent fixtures lots.

410
00:21:42,240 --> 00:21:43,640
Speaker 4: Oh yeah, that's another.

411
00:21:43,640 --> 00:21:48,680
Speaker 3: Fluorescence because they're period of course, and hardly anyone stocks

412
00:21:49,520 --> 00:21:54,320
Speaker 3: fluorescent ballast. We had to replace hundreds of ballasts well

413
00:21:54,640 --> 00:21:58,920
Speaker 3: in high schools and Melvolves and all over Georgia we

414
00:21:58,960 --> 00:21:59,880
Speaker 3: replaced ballast.

415
00:22:00,440 --> 00:22:06,000
Speaker 1: Wow, that's a big undertaking that was awful. Yeah, but

416
00:22:06,480 --> 00:22:09,280
Speaker 1: it pays off on screen because it does give you

417
00:22:09,280 --> 00:22:11,879
Speaker 1: that like like that's why it feels like it was

418
00:22:11,920 --> 00:22:13,919
Speaker 1: made in the eighties, is because it has all of

419
00:22:13,920 --> 00:22:17,160
Speaker 1: this love and care behind it, and you can see

420
00:22:17,160 --> 00:22:22,440
Speaker 1: that rolling out through other projects that are clearly following

421
00:22:22,480 --> 00:22:25,679
Speaker 1: that same philosophy. I mean, Stephen King's it coming out, like,

422
00:22:26,080 --> 00:22:29,760
Speaker 1: I think the look of it owes an awful lot

423
00:22:30,480 --> 00:22:34,440
Speaker 1: to Stranger Things. It has a very similar kind of

424
00:22:34,600 --> 00:22:37,920
Speaker 1: feel to it for that Segod. I mean, it's amazing

425
00:22:37,960 --> 00:22:40,240
Speaker 1: to me that they went ahead and decided to set

426
00:22:40,280 --> 00:22:44,399
Speaker 1: the adult story in modern day, which conveniently made the

427
00:22:44,480 --> 00:22:47,479
Speaker 1: children's story set in the eighties, and so there are

428
00:22:47,480 --> 00:22:50,480
Speaker 1: a lot of parallels there. But it's funny because of

429
00:22:50,520 --> 00:22:53,440
Speaker 1: course Stranger Things also, you could tell has a little

430
00:22:53,440 --> 00:22:56,880
Speaker 1: bit of the influence of Stephen King is certainly in

431
00:22:57,160 --> 00:22:59,560
Speaker 1: the Stranger Things universe as well, So it's all kind

432
00:22:59,600 --> 00:23:03,760
Speaker 1: of feeding in on itself. It's a collaborative and cooperative

433
00:23:04,160 --> 00:23:09,000
Speaker 1: as well as competitive process. I'm sure. So were there

434
00:23:09,040 --> 00:23:12,439
Speaker 1: any particular sets that you really liked working on or

435
00:23:12,440 --> 00:23:15,080
Speaker 1: any that you really did not like working on?

436
00:23:17,200 --> 00:23:19,840
Speaker 5: I don't, John, I probably will have different responses. But

437
00:23:21,160 --> 00:23:23,959
Speaker 5: I mean the buyer's house is one of the I

438
00:23:23,960 --> 00:23:26,439
Speaker 5: tell everyone, it's like its own sort of character that

439
00:23:26,480 --> 00:23:28,520
Speaker 5: we had. You know, it's at least we shot it

440
00:23:28,560 --> 00:23:31,119
Speaker 5: in a for the most part, chronological order, because we

441
00:23:31,440 --> 00:23:36,520
Speaker 5: really literally destroyed it completely as we went and you know,

442
00:23:36,600 --> 00:23:40,439
Speaker 5: Joyce ripping things apart and monsters smashing things. And I

443
00:23:40,480 --> 00:23:42,879
Speaker 5: will say it was it was towards the end of

444
00:23:42,880 --> 00:23:44,919
Speaker 5: it when all the Christmas lights were up and like

445
00:23:45,000 --> 00:23:48,840
Speaker 5: half pulled down, and it was an absolute nightmare for

446
00:23:48,920 --> 00:23:50,919
Speaker 5: the shooting crew. I mean for a boom operator to

447
00:23:50,960 --> 00:23:53,840
Speaker 5: operate in that setting was just like it's uh, you know,

448
00:23:53,960 --> 00:23:58,040
Speaker 5: it's everyone was getting like tangled and it was. Yeah,

449
00:23:58,080 --> 00:24:00,840
Speaker 5: it was truly like a it was a it was

450
00:24:00,920 --> 00:24:03,000
Speaker 5: kind of fun to watch it progress, but it was

451
00:24:03,080 --> 00:24:05,919
Speaker 5: a it took a lot of patience. They're not not

452
00:24:06,000 --> 00:24:08,520
Speaker 5: every shooting crew be cut out to kind of handle

453
00:24:08,560 --> 00:24:09,439
Speaker 5: that that setting.

454
00:24:13,040 --> 00:24:16,840
Speaker 3: My least favorite was the high school because we had

455
00:24:16,960 --> 00:24:19,520
Speaker 3: again we had to go in and replace every fluorescent,

456
00:24:20,000 --> 00:24:22,320
Speaker 3: most of the ballast in there. And then towards the

457
00:24:22,400 --> 00:24:25,560
Speaker 3: end of it, when they had the scene with Eleven

458
00:24:25,560 --> 00:24:28,160
Speaker 3: and the monster, everything starts to go crazy and flickers

459
00:24:28,480 --> 00:24:31,600
Speaker 3: we had to take everything out and we reinstalled our

460
00:24:31,640 --> 00:24:35,400
Speaker 3: own LED strips throughout the school so it could make

461
00:24:35,480 --> 00:24:36,760
Speaker 3: everything flicker on and off.

462
00:24:38,160 --> 00:24:39,720
Speaker 2: That's a lot of work, a lot of work.

463
00:24:39,760 --> 00:24:41,520
Speaker 5: And it wasn't even just led twobs. It was like

464
00:24:41,680 --> 00:24:43,919
Speaker 5: they were soldering again. I just would see that, you know,

465
00:24:44,240 --> 00:24:44,919
Speaker 5: you guys were.

466
00:24:44,960 --> 00:24:47,960
Speaker 3: On location soldering in some old classroom.

467
00:24:48,480 --> 00:24:51,720
Speaker 5: Putting LED strips in like twobs or whatever you were doing.

468
00:24:52,119 --> 00:24:55,119
Speaker 1: Yeah, that was well, what was what was it like

469
00:24:55,200 --> 00:24:59,080
Speaker 1: working in Uh? Did they the facility? Wasn't that set

470
00:24:59,119 --> 00:25:01,639
Speaker 1: in an old building in the emery?

471
00:25:01,920 --> 00:25:03,000
Speaker 4: Yeah? Hawkins Lab.

472
00:25:03,119 --> 00:25:06,280
Speaker 1: Yeah, how was that experience?

473
00:25:07,800 --> 00:25:08,639
Speaker 2: Uh?

474
00:25:08,920 --> 00:25:10,760
Speaker 4: I'm you know, there are a lot of shows that

475
00:25:10,840 --> 00:25:11,280
Speaker 4: film there.

476
00:25:11,800 --> 00:25:13,680
Speaker 5: I feel like we were still in the early wave

477
00:25:13,760 --> 00:25:16,240
Speaker 5: of like some of the shows that were like really

478
00:25:16,280 --> 00:25:18,280
Speaker 5: working on all the different floors and stuff. So like

479
00:25:18,880 --> 00:25:22,159
Speaker 5: especially John and having to go up and put you know,

480
00:25:22,359 --> 00:25:24,240
Speaker 5: move ceiling tiles out of the way to run cable

481
00:25:24,280 --> 00:25:26,840
Speaker 5: and stuff. Is like you're for the first time in

482
00:25:26,960 --> 00:25:28,880
Speaker 5: forty years, you know, you.

483
00:25:28,800 --> 00:25:31,800
Speaker 1: Were you were you were the explorer that everyone else

484
00:25:31,840 --> 00:25:32,160
Speaker 1: got the.

485
00:25:32,080 --> 00:25:33,280
Speaker 2: Benefit we found.

486
00:25:34,440 --> 00:25:38,400
Speaker 1: Yeah, Well, for people who don't know, can you talk

487
00:25:38,440 --> 00:25:41,679
Speaker 1: a little bit about the building itself? Where the Hawkins

488
00:25:41,760 --> 00:25:44,639
Speaker 1: Lab was because I think, you know, again, everyone sees

489
00:25:44,680 --> 00:25:48,080
Speaker 1: it in the show, but they don't know what the

490
00:25:48,119 --> 00:25:50,560
Speaker 1: actual space was. They might just think, oh, was that

491
00:25:50,640 --> 00:25:52,520
Speaker 1: just a set on a studio, and in fact that

492
00:25:52,960 --> 00:25:55,000
Speaker 1: parts of it at least were very much in a

493
00:25:55,040 --> 00:25:56,720
Speaker 1: real building here in Atlanta.

494
00:25:56,960 --> 00:25:59,800
Speaker 5: Yeah, I will say, like when we were first when

495
00:25:59,840 --> 00:26:01,879
Speaker 5: the Duffers were first here and we were going to

496
00:26:02,040 --> 00:26:05,400
Speaker 5: you know, film Stranger Things in Atlanta, and full disclosure,

497
00:26:05,440 --> 00:26:07,960
Speaker 5: I sometimes location scout when I'm not decorating.

498
00:26:08,000 --> 00:26:08,920
Speaker 4: It's like my secret job.

499
00:26:09,000 --> 00:26:10,919
Speaker 5: So so I was doing a lot of the like

500
00:26:11,000 --> 00:26:14,320
Speaker 5: early scouting, trying to figure out what Hawkins Lab was

501
00:26:14,359 --> 00:26:17,320
Speaker 5: going to be and how undercover and small it was

502
00:26:17,359 --> 00:26:20,280
Speaker 5: going to be or how big and you know.

503
00:26:20,560 --> 00:26:23,359
Speaker 4: Just what the look was going to be. Yeah, and

504
00:26:23,400 --> 00:26:24,520
Speaker 4: I did. We didn't all agree.

505
00:26:24,600 --> 00:26:27,480
Speaker 5: I felt like that building a memory with its metal

506
00:26:27,480 --> 00:26:29,760
Speaker 5: facade and kind of craziness on the outside, was a

507
00:26:29,760 --> 00:26:34,040
Speaker 5: little like ostentatious for a secret sort of government facility.

508
00:26:34,080 --> 00:26:37,840
Speaker 5: But anyway, but they loved. I mean, it is a

509
00:26:37,840 --> 00:26:41,120
Speaker 5: pretty impressive building and it's very distinct, and what they

510
00:26:41,119 --> 00:26:43,240
Speaker 5: did with it in posts like putting the satellites and

511
00:26:43,280 --> 00:26:45,440
Speaker 5: stuff on top it made it all kind of work.

512
00:26:45,480 --> 00:26:48,640
Speaker 5: But yeah, it's a it's on Briarcliff here in Atlanta,

513
00:26:48,760 --> 00:26:54,840
Speaker 5: and it's an old mental hospital and uh yeah, so

514
00:26:54,880 --> 00:26:59,159
Speaker 5: it's truly creepy. It's not everything works in there anymore.

515
00:26:59,240 --> 00:27:01,440
Speaker 5: Powers like kind of like hit or miss in some areas,

516
00:27:01,480 --> 00:27:05,400
Speaker 5: and a lot of leaks and things, lots of leaks.

517
00:27:05,840 --> 00:27:07,919
Speaker 1: Yeah, so it must have been a tough one to

518
00:27:07,920 --> 00:27:09,600
Speaker 1: work in as well, John, did you do you have

519
00:27:09,640 --> 00:27:11,439
Speaker 1: a lot of challenges going through all that.

520
00:27:11,480 --> 00:27:16,360
Speaker 3: I mean, it's just like that place they just stopped

521
00:27:16,440 --> 00:27:19,080
Speaker 3: one day and everyone left and then people came in

522
00:27:19,160 --> 00:27:23,560
Speaker 3: behind them and trashed the place. So there's broken glass everywhere,

523
00:27:23,600 --> 00:27:29,760
Speaker 3: there were needles everywhere, and just trying to figure out what,

524
00:27:30,119 --> 00:27:32,320
Speaker 3: like how to power how does this light come on?

525
00:27:32,720 --> 00:27:34,920
Speaker 3: Where you have to trace it all the way down

526
00:27:35,240 --> 00:27:38,000
Speaker 3: sometimes in the floor underneath you or the sub floor

527
00:27:38,640 --> 00:27:39,240
Speaker 3: underneath you.

528
00:27:39,840 --> 00:27:41,440
Speaker 2: It was definitely a challenge.

529
00:27:41,640 --> 00:27:44,200
Speaker 1: Wow, So I'm sure that was one of the more

530
00:27:44,240 --> 00:27:47,399
Speaker 1: difficult ones to actually to power make sure that everything

531
00:27:47,440 --> 00:27:51,400
Speaker 1: was working properly. Yeah. I saw the pictures of sort

532
00:27:51,400 --> 00:27:54,560
Speaker 1: of the before and after during one of those presentations, and.

533
00:27:54,520 --> 00:27:55,840
Speaker 2: It was really.

534
00:27:57,560 --> 00:28:00,119
Speaker 1: Really alarming. Actually, there was a shot that was just

535
00:28:00,200 --> 00:28:03,600
Speaker 1: down a hallway and it was possibly the most creepy

536
00:28:03,680 --> 00:28:06,560
Speaker 1: looking photograph I had seen in a really long time.

537
00:28:06,960 --> 00:28:08,920
Speaker 5: Well, the one thing I will say is that we'd

538
00:28:09,400 --> 00:28:13,440
Speaker 5: every intention when we first started of shooting like the

539
00:28:13,440 --> 00:28:17,200
Speaker 5: the sort of rift lab in Hawkins, like where the

540
00:28:17,240 --> 00:28:20,960
Speaker 5: tank and everything is. That was the tunnels leading up

541
00:28:20,960 --> 00:28:22,680
Speaker 5: to that and the opening scene where he's like getting

542
00:28:22,680 --> 00:28:24,159
Speaker 5: off the elevator and everything. We were going to do

543
00:28:24,240 --> 00:28:27,359
Speaker 5: that at Emory, which is they actually have these like

544
00:28:27,440 --> 00:28:30,879
Speaker 5: underground tunnels that are that are.

545
00:28:32,600 --> 00:28:34,119
Speaker 4: It's pretty bad. I don't even know.

546
00:28:34,200 --> 00:28:36,679
Speaker 5: Yeah, it's like asbestos and all these like crazy you know,

547
00:28:36,760 --> 00:28:39,120
Speaker 5: it's just it's dark there hasn't empowered down there forever.

548
00:28:40,560 --> 00:28:42,480
Speaker 5: And so at the last minute, I think they'd done

549
00:28:42,520 --> 00:28:44,640
Speaker 5: these like air quality tests and stuff, and they finally

550
00:28:44,680 --> 00:28:47,240
Speaker 5: said there's okay, this is great. The texture is great,

551
00:28:47,560 --> 00:28:50,280
Speaker 5: it's authentic, but we like, really we cannot film down here.

552
00:28:50,360 --> 00:28:53,600
Speaker 5: So we ended up copying the general look of it

553
00:28:53,680 --> 00:28:55,680
Speaker 5: on our stage, and we built a series of tunnels

554
00:28:55,680 --> 00:28:58,080
Speaker 5: that were a lot more easy to control from a

555
00:28:58,160 --> 00:29:00,600
Speaker 5: lighting standpoint and every other aspects, right.

556
00:29:00,480 --> 00:29:02,960
Speaker 1: And you don't have to worry about breathing in Carcinogenic.

557
00:29:03,280 --> 00:29:04,920
Speaker 4: Yeah, we do that.

558
00:29:04,960 --> 00:29:06,840
Speaker 5: I feel like the like John and I and our

559
00:29:07,040 --> 00:29:10,680
Speaker 5: crews that are there you know beforehand, so early working

560
00:29:10,720 --> 00:29:15,040
Speaker 5: on places, especially those guys with like the ceiling tiles

561
00:29:15,040 --> 00:29:18,040
Speaker 5: are the hidden that's what is above those is uh

562
00:29:18,680 --> 00:29:21,120
Speaker 5: the real you know, there's yeah.

563
00:29:21,080 --> 00:29:26,400
Speaker 1: There's there's a whole treasure trove of exactly. Yeah, exciting.

564
00:29:26,520 --> 00:29:28,280
Speaker 5: So we deal with the worst of it and then

565
00:29:28,320 --> 00:29:30,600
Speaker 5: I think shooting crew has a little better time.

566
00:29:30,640 --> 00:29:32,080
Speaker 4: By the time they get in there, it's all been

567
00:29:32,120 --> 00:29:32,880
Speaker 4: cleaned up a little bit.

568
00:29:32,960 --> 00:29:34,280
Speaker 1: And then of course then you have you know, the

569
00:29:34,400 --> 00:29:40,800
Speaker 1: very pampered people to actors, that's fantastic that they complain

570
00:29:40,880 --> 00:29:42,880
Speaker 1: a little bit about it being a little chilly outside.

571
00:29:42,920 --> 00:29:44,800
Speaker 2: Like listen, when we came here.

572
00:29:44,640 --> 00:29:46,959
Speaker 1: There was no power, water was coming in, and there

573
00:29:46,960 --> 00:29:48,040
Speaker 1: were rats everywhere.

574
00:29:48,160 --> 00:29:53,760
Speaker 5: So there's some sets like in season two which you know,

575
00:29:53,840 --> 00:29:56,960
Speaker 5: who can kind of leave everyone to sort of experience

576
00:29:57,040 --> 00:30:01,840
Speaker 5: later this month, but it's there is an arcade and

577
00:30:02,000 --> 00:30:04,120
Speaker 5: just know, like when we finish all this, I'll show

578
00:30:04,120 --> 00:30:08,200
Speaker 5: you the photos. But the before was like an old laundromat,

579
00:30:08,480 --> 00:30:12,320
Speaker 5: dry cleaner place that had been sold, closed down, leaky roof,

580
00:30:12,520 --> 00:30:15,080
Speaker 5: all the same stuff the hoarder had taken it over

581
00:30:15,120 --> 00:30:18,120
Speaker 5: and it was like to the ceiling with like mattresses

582
00:30:18,200 --> 00:30:22,920
Speaker 5: and diapers and like whatever garbage. And so that process

583
00:30:23,040 --> 00:30:26,200
Speaker 5: was another good one. We've had a lot stranger things.

584
00:30:26,320 --> 00:30:28,680
Speaker 5: Is like people who hear about our production. I feel

585
00:30:28,720 --> 00:30:30,960
Speaker 5: like who also shoot in Atlanta are like who he

586
00:30:31,320 --> 00:30:33,120
Speaker 5: see and kind of know what we started out with

587
00:30:33,160 --> 00:30:36,080
Speaker 5: and then what the final product is are like why

588
00:30:36,400 --> 00:30:38,840
Speaker 5: you know your show is like does the craziest Like

589
00:30:38,920 --> 00:30:40,320
Speaker 5: we're willing to put up with a lot more, I

590
00:30:40,360 --> 00:30:44,360
Speaker 5: think than a lot of other like productions, Hollywood productions

591
00:30:44,360 --> 00:30:46,280
Speaker 5: that you know, would never touch some of the places

592
00:30:46,280 --> 00:30:46,920
Speaker 5: that we go into.

593
00:30:47,080 --> 00:30:49,760
Speaker 1: Yeah, well again it pays off though, So I look

594
00:30:49,760 --> 00:30:51,960
Speaker 1: forward to seeing those photos because of course, again growing

595
00:30:52,040 --> 00:30:54,240
Speaker 1: up in the seventies and eighties, I have a lot

596
00:30:54,240 --> 00:30:56,560
Speaker 1: of fond memories of arcades that you just you know,

597
00:30:56,600 --> 00:30:59,120
Speaker 1: you very rarely encounter those kind of places these days.

598
00:30:59,200 --> 00:31:01,120
Speaker 5: It's going to be another one of those like why

599
00:31:01,160 --> 00:31:03,760
Speaker 5: would you put the effort into it? Like it's but

600
00:31:03,840 --> 00:31:05,840
Speaker 5: it was just little architectural things about the building that

601
00:31:05,840 --> 00:31:08,280
Speaker 5: we thought were kind of great and I don't know, well,

602
00:31:08,280 --> 00:31:08,680
Speaker 5: every now.

603
00:31:08,640 --> 00:31:10,160
Speaker 1: And then you run into one of those places where

604
00:31:10,160 --> 00:31:13,600
Speaker 1: you're just like, well, everything inside here is is trashed,

605
00:31:13,600 --> 00:31:17,840
Speaker 1: but it's so evocative of that particular thing you're trying

606
00:31:17,880 --> 00:31:20,760
Speaker 1: to do that you know, I'm sure it becomes one

607
00:31:20,840 --> 00:31:23,800
Speaker 1: of those debates that rages in your mind, like is

608
00:31:23,840 --> 00:31:26,560
Speaker 1: it going to be worth the amount of effort it's

609
00:31:26,600 --> 00:31:29,280
Speaker 1: going to take to get this place into shape? And

610
00:31:29,400 --> 00:31:31,320
Speaker 1: if the answer is yes, then you just have to

611
00:31:31,360 --> 00:31:35,120
Speaker 1: grit your teeth and go for it and and you know,

612
00:31:35,440 --> 00:31:36,200
Speaker 1: get the work done.

613
00:31:36,480 --> 00:31:42,800
Speaker 5: The library we had the Hawkins Library. Yeah, we another

614
00:31:42,840 --> 00:31:47,200
Speaker 5: one of my really good ideas. There's a library in

615
00:31:47,520 --> 00:31:51,200
Speaker 5: downtown East Point, Georgia that was it was like on

616
00:31:51,280 --> 00:31:53,480
Speaker 5: the Places in Peril like Historic Preservation List.

617
00:31:53,560 --> 00:31:53,880
Speaker 4: It was.

618
00:31:54,320 --> 00:31:58,720
Speaker 5: It was leaky roof same thing, you know, asbestos mold,

619
00:31:59,360 --> 00:32:01,360
Speaker 5: tons of tons of mold. They had standing water in

620
00:32:01,360 --> 00:32:04,960
Speaker 5: the basement for like two years. And we had the

621
00:32:04,960 --> 00:32:07,320
Speaker 5: big idea to spend I don't know how much we

622
00:32:07,360 --> 00:32:10,040
Speaker 5: spent there with like a full like mold remediation and

623
00:32:10,880 --> 00:32:14,640
Speaker 5: abatement process. And then you know, John went in and

624
00:32:14,680 --> 00:32:17,360
Speaker 5: fixed all the light fixtures, and we went in and

625
00:32:17,400 --> 00:32:20,680
Speaker 5: put in you know, the bookcases, and I bought like

626
00:32:20,720 --> 00:32:24,760
Speaker 5: twenty thousand books and library card catalogs, all that stuff

627
00:32:24,800 --> 00:32:27,120
Speaker 5: just to you know, for really not at all much

628
00:32:27,160 --> 00:32:30,680
Speaker 5: screen time, but you know, but you need a period

629
00:32:30,680 --> 00:32:33,040
Speaker 5: library and you got to start somewhere. So we ended

630
00:32:33,120 --> 00:32:36,160
Speaker 5: up actually donating I donated like the books and everything

631
00:32:36,480 --> 00:32:40,080
Speaker 5: to the city eas point to stay intact there so

632
00:32:40,600 --> 00:32:42,760
Speaker 5: it can. It kind of gets now rented out as

633
00:32:42,760 --> 00:32:45,600
Speaker 5: a location for other productions, and that money kind of

634
00:32:45,640 --> 00:32:48,000
Speaker 5: goes into keeping the building up and they fixed the

635
00:32:48,080 --> 00:32:50,040
Speaker 5: roof and everything, so so it's cool.

636
00:32:49,840 --> 00:32:50,440
Speaker 4: We saved it.

637
00:32:50,640 --> 00:32:53,959
Speaker 1: Yeah, there's there's a little nice little by product of

638
00:32:54,000 --> 00:32:57,680
Speaker 1: the production. It's not just not just that you're making

639
00:32:58,000 --> 00:33:01,320
Speaker 1: amazing entertainment, but that you can actually benefit well. And

640
00:33:01,360 --> 00:33:04,240
Speaker 1: again this gets outside of tech, but we hear it

641
00:33:04,280 --> 00:33:06,840
Speaker 1: all the time. I mean, there's always the discussion about

642
00:33:07,600 --> 00:33:11,240
Speaker 1: the benefits of the film and television business moving into

643
00:33:11,320 --> 00:33:13,560
Speaker 1: any place. When you can hear about stories like that,

644
00:33:13,640 --> 00:33:16,800
Speaker 1: you're like, that's something that I wouldn't necessarily have thought of,

645
00:33:17,360 --> 00:33:20,200
Speaker 1: just from the fact that we're getting this influx of

646
00:33:20,840 --> 00:33:23,680
Speaker 1: productions coming into Atlanta. For those who do not know,

647
00:33:24,240 --> 00:33:27,120
Speaker 1: Atlanta is one of the cities in the United States

648
00:33:27,160 --> 00:33:30,000
Speaker 1: that's really taking off when it comes to film and

649
00:33:30,040 --> 00:33:31,720
Speaker 1: television and music video production.

650
00:33:31,840 --> 00:33:32,240
Speaker 2: And you know.

651
00:33:32,640 --> 00:33:35,680
Speaker 1: There's certain to a certain extent. Music video had been

652
00:33:35,880 --> 00:33:40,200
Speaker 1: fairly big here for a while. Television some TV productions

653
00:33:40,240 --> 00:33:43,240
Speaker 1: were shot in here. But we're seeing more and more

654
00:33:43,640 --> 00:33:47,040
Speaker 1: film projects as well, largely because of the construction of

655
00:33:47,080 --> 00:33:51,880
Speaker 1: the Pinewood Studio that's south of the city, and they're

656
00:33:52,080 --> 00:33:54,440
Speaker 1: especially like just around the area that we're in right now.

657
00:33:54,480 --> 00:33:58,440
Speaker 1: We're at Pont City Market in Atlanta. Around this general area,

658
00:33:59,080 --> 00:34:01,440
Speaker 1: you can't go maybe a couple of miles in any

659
00:34:01,440 --> 00:34:05,000
Speaker 1: direction before you start seeing signs for various productions. They're everywhere,

660
00:34:06,040 --> 00:34:10,200
Speaker 1: and so we're actually seeing some of that benefit now

661
00:34:10,280 --> 00:34:15,680
Speaker 1: where we're seeing, you know, communities potentially get the reuse

662
00:34:15,760 --> 00:34:19,560
Speaker 1: of buildings that otherwise would have been remaining vacant. From

663
00:34:19,719 --> 00:34:22,920
Speaker 1: a similar perspective, although this wasn't from a film production,

664
00:34:23,360 --> 00:34:28,160
Speaker 1: the building we're in right now was largely vacant for decades.

665
00:34:28,280 --> 00:34:32,480
Speaker 1: It was a Sears distribution center. Then for a while

666
00:34:32,520 --> 00:34:35,040
Speaker 1: the city of Atlanta had about ten percent of this

667
00:34:35,160 --> 00:34:37,920
Speaker 1: building and the other ninety percent was empty.

668
00:34:38,400 --> 00:34:42,000
Speaker 4: I picked up many police reports and things here, yeah, on.

669
00:34:42,040 --> 00:34:45,640
Speaker 3: The program, and you could get like art supplies and

670
00:34:45,680 --> 00:34:47,280
Speaker 3: I used to come here and get art supplies.

671
00:34:47,520 --> 00:34:47,800
Speaker 2: Yeah.

672
00:34:48,120 --> 00:34:51,480
Speaker 1: Yeah, to the point where if you were to walk

673
00:34:51,520 --> 00:34:53,960
Speaker 1: around all the different offices here, first of all, they'd

674
00:34:54,000 --> 00:34:55,719
Speaker 1: ask you to leave, but if you were to do that,

675
00:34:56,600 --> 00:35:00,839
Speaker 1: you would probably see a lot of old equipment, Like

676
00:35:00,880 --> 00:35:03,680
Speaker 1: we have an old turbine in our lobby, And it's

677
00:35:03,719 --> 00:35:07,640
Speaker 1: because every office was given some of the pieces of

678
00:35:07,680 --> 00:35:09,960
Speaker 1: equipment that had been used when this was a big

679
00:35:10,000 --> 00:35:12,120
Speaker 1: distribution center for sears. I mean it was built right

680
00:35:12,160 --> 00:35:14,720
Speaker 1: on the railroad. They would actually bring railroad cars into

681
00:35:14,760 --> 00:35:19,160
Speaker 1: this place. So every office has some element of that

682
00:35:19,480 --> 00:35:23,640
Speaker 1: worked into it. And it's again just one of those

683
00:35:23,680 --> 00:35:27,400
Speaker 1: reminders of the history of the place that for decades

684
00:35:27,520 --> 00:35:31,520
Speaker 1: went just completely unused. And this was literally just stuff

685
00:35:31,560 --> 00:35:33,120
Speaker 1: that was piled up. So I guess it's kind of

686
00:35:33,120 --> 00:35:35,360
Speaker 1: similar to what you do just where you have to

687
00:35:35,560 --> 00:35:38,520
Speaker 1: you have to go into interesting places and just kind

688
00:35:38,520 --> 00:35:41,360
Speaker 1: of search around. I mean, there used to be a

689
00:35:41,400 --> 00:35:45,800
Speaker 1: really great place very close to here that had crazy

690
00:35:45,880 --> 00:35:49,120
Speaker 1: stuff for lots of antiques and a lot of old

691
00:35:49,120 --> 00:35:51,960
Speaker 1: fixtures and things, and now it's a restaurant. And I'm

692
00:35:52,000 --> 00:35:54,920
Speaker 1: always sad when I go by the Wrecking Bar. Yeah,

693
00:35:54,960 --> 00:35:57,000
Speaker 1: I'm sad that that place is gone, because I would

694
00:35:57,040 --> 00:36:00,960
Speaker 1: find really interesting stuff there. Yeah, but that was just

695
00:36:00,960 --> 00:36:13,719
Speaker 1: for me. I don't decorate sets at all. So what

696
00:36:13,800 --> 00:36:16,799
Speaker 1: do you think out of it? Maybe not just stranger things,

697
00:36:16,800 --> 00:36:20,560
Speaker 1: but anything any production you've worked on, was the the

698
00:36:20,560 --> 00:36:27,000
Speaker 1: most interesting piece that you have ever found for a production?

699
00:36:27,360 --> 00:36:27,799
Speaker 4: Well, this.

700
00:36:29,560 --> 00:36:32,479
Speaker 5: The movie I was talking about that was took place

701
00:36:32,520 --> 00:36:36,960
Speaker 5: in a television station. It was set in nineteen seventy

702
00:36:36,960 --> 00:36:40,920
Speaker 5: four in Sarasota, Florida. And the director, I don't know

703
00:36:40,920 --> 00:36:43,240
Speaker 5: if he completely understood. He's a little bit of a

704
00:36:43,280 --> 00:36:48,680
Speaker 5: savante and wanted to have like a full working broadcast

705
00:36:48,719 --> 00:36:50,080
Speaker 5: studio from that era.

706
00:36:50,239 --> 00:36:52,720
Speaker 1: They not just look like one, but actually.

707
00:36:52,320 --> 00:36:56,759
Speaker 5: Literally working, which yeah, exactly, monitors in a control room

708
00:36:56,840 --> 00:36:59,680
Speaker 5: and cameras and all of it, and all the editing

709
00:36:59,840 --> 00:37:05,640
Speaker 5: and and and this is all still like film and stuff. Yeah.

710
00:37:05,680 --> 00:37:09,279
Speaker 5: And there was this one piece, a quadruplex machine. And

711
00:37:09,280 --> 00:37:13,080
Speaker 5: this is like right when news gathering was like going

712
00:37:13,120 --> 00:37:16,040
Speaker 5: electronic and so a lot of that technology was changing

713
00:37:16,120 --> 00:37:20,280
Speaker 5: like in the moment. But this quadruplex machine that looks

714
00:37:20,320 --> 00:37:24,400
Speaker 5: like a giant kind of real to real thing that

715
00:37:24,640 --> 00:37:27,239
Speaker 5: there were not that many of them, and there are

716
00:37:27,320 --> 00:37:30,440
Speaker 5: really not that many of them left now, especially working,

717
00:37:30,520 --> 00:37:32,799
Speaker 5: which is like a you know, they're so finicky, right.

718
00:37:33,480 --> 00:37:35,160
Speaker 5: There was like a place in the Rhode Island that

719
00:37:35,200 --> 00:37:38,480
Speaker 5: had some museum and a couple other places even like

720
00:37:38,560 --> 00:37:41,799
Speaker 5: in La what i'd call the regular prop houses to

721
00:37:41,800 --> 00:37:44,319
Speaker 5: ship it out here, that they didn't have any So

722
00:37:44,440 --> 00:37:48,240
Speaker 5: I just was calling old TV stations. Not that anyone

723
00:37:48,280 --> 00:37:50,800
Speaker 5: has phones or answers their phone anymore anywhere. It's like

724
00:37:50,800 --> 00:37:53,359
Speaker 5: an annoying another annoying landline thing.

725
00:37:53,440 --> 00:37:55,399
Speaker 4: But so I was just driving around.

726
00:37:55,440 --> 00:37:57,240
Speaker 5: We were filming in Savannah, and I was just driving

727
00:37:57,360 --> 00:37:59,560
Speaker 5: like on the weekends to smaller towns that used to

728
00:37:59,600 --> 00:38:03,080
Speaker 5: have news stations, just like looking for like that one

729
00:38:03,239 --> 00:38:05,840
Speaker 5: place that has an attic or a basement that just

730
00:38:06,120 --> 00:38:07,279
Speaker 5: dashed all the stuff.

731
00:38:07,000 --> 00:38:07,799
Speaker 4: And never threw it away.

732
00:38:09,200 --> 00:38:12,280
Speaker 5: And there was a guy in Macon at a TV

733
00:38:12,360 --> 00:38:14,640
Speaker 5: station and he was like literally the only guy like

734
00:38:14,719 --> 00:38:17,520
Speaker 5: manning like reruns of the Simpsons or whatever they're you know,

735
00:38:17,640 --> 00:38:20,319
Speaker 5: like I don't even think they did news anymore. But

736
00:38:20,440 --> 00:38:23,279
Speaker 5: he came to the door and I was asking him

737
00:38:23,280 --> 00:38:26,879
Speaker 5: about like old equipment, and you know, he's like, well,

738
00:38:26,880 --> 00:38:28,720
Speaker 5: we do have this old site out in the swamp

739
00:38:28,800 --> 00:38:31,359
Speaker 5: that we used to use like as a studio, and

740
00:38:31,440 --> 00:38:33,360
Speaker 5: I was like, do you think you have a quadruplex machine?

741
00:38:33,360 --> 00:38:35,000
Speaker 5: And he's like, oh, yeah, I got that. I got

742
00:38:35,000 --> 00:38:36,480
Speaker 5: like two of those out there. And I was just

743
00:38:36,520 --> 00:38:40,320
Speaker 5: like literally, yeah, that was like the best moment. And

744
00:38:40,320 --> 00:38:41,759
Speaker 5: then so we get in this guy's truck when we

745
00:38:41,880 --> 00:38:45,400
Speaker 5: ride out to the swamp and leaky roof, no power,

746
00:38:46,480 --> 00:38:49,560
Speaker 5: you know, same thing we always are dealing with, but yeah,

747
00:38:49,600 --> 00:38:51,080
Speaker 5: they're in the corner in like a dry corner.

748
00:38:51,239 --> 00:38:53,399
Speaker 4: Was like this quadruplex and a.

749
00:38:53,320 --> 00:38:55,200
Speaker 5: Bunch of other stuff that was really useful to have

750
00:38:55,280 --> 00:38:58,120
Speaker 5: to we were able to kind of tinker and get

751
00:38:58,120 --> 00:39:01,440
Speaker 5: it to work. And that was my that's by far

752
00:39:01,600 --> 00:39:05,000
Speaker 5: my my like prize possession of all the things I've

753
00:39:05,000 --> 00:39:05,520
Speaker 5: ever found.

754
00:39:05,560 --> 00:39:06,680
Speaker 4: Ye, I love it.

755
00:39:06,680 --> 00:39:10,480
Speaker 1: It's sort of the sort of challenges you don't necessarily

756
00:39:10,520 --> 00:39:14,560
Speaker 1: anticipate until you encounter one of those A tour directors

757
00:39:14,600 --> 00:39:18,560
Speaker 1: who has that that strong dependence upon authenticity.

758
00:39:19,600 --> 00:39:23,399
Speaker 5: I'm sick of control panels, Jess No, that's another yeah,

759
00:39:23,400 --> 00:39:27,200
Speaker 5: Like season two is a yeah, you guys will see

760
00:39:27,200 --> 00:39:29,920
Speaker 5: when that comes out, but there's a we did a

761
00:39:30,000 --> 00:39:32,839
Speaker 5: whole control panel in the riff lab this time that

762
00:39:32,920 --> 00:39:35,520
Speaker 5: we needed to be able to really control rather than

763
00:39:35,600 --> 00:39:37,400
Speaker 5: like getting prop ones, which is kind of what we

764
00:39:37,440 --> 00:39:39,560
Speaker 5: had the first season and something I was never really

765
00:39:39,560 --> 00:39:44,520
Speaker 5: that happy with. I had probably the bad idea of

766
00:39:45,239 --> 00:39:50,160
Speaker 5: designing my very own control panel with all these separate

767
00:39:50,320 --> 00:39:53,920
Speaker 5: like old boat led lights and indicator lights and all

768
00:39:53,920 --> 00:39:56,160
Speaker 5: these different things that I was trying to get John

769
00:39:56,200 --> 00:39:58,799
Speaker 5: in like really early last season to help start like

770
00:39:58,840 --> 00:40:00,919
Speaker 5: figuring out how we were going to power each one

771
00:40:01,280 --> 00:40:03,759
Speaker 5: and have each one on a separate control I was.

772
00:40:03,680 --> 00:40:07,520
Speaker 3: Told there would be no flickering season two because that

773
00:40:07,560 --> 00:40:10,360
Speaker 3: was a big, a big expense for production.

774
00:40:10,520 --> 00:40:12,040
Speaker 1: Uh huh.

775
00:40:12,080 --> 00:40:13,800
Speaker 2: And then then you'll see.

776
00:40:13,640 --> 00:40:17,040
Speaker 4: The whole board is a flickering mess of like, yeah,

777
00:40:17,280 --> 00:40:17,520
Speaker 4: it was.

778
00:40:17,520 --> 00:40:20,400
Speaker 1: Like I feel like I feel like a little bit

779
00:40:20,440 --> 00:40:22,239
Speaker 1: of it has been spoiled for me. But I will

780
00:40:23,200 --> 00:40:25,520
Speaker 1: go into it just knowing there may be a flicker

781
00:40:25,600 --> 00:40:26,799
Speaker 1: or two in season two.

782
00:40:27,640 --> 00:40:30,640
Speaker 2: I don't know. I haven't seen any of the footage,

783
00:40:30,680 --> 00:40:31,359
Speaker 2: so I'm not sure.

784
00:40:31,480 --> 00:40:32,600
Speaker 1: Yeah, maybe that all got cut.

785
00:40:32,640 --> 00:40:34,120
Speaker 2: I wasn't even there when it happened.

786
00:40:34,719 --> 00:40:35,920
Speaker 4: Yeah, that was kind of a nightmare.

787
00:40:35,960 --> 00:40:38,879
Speaker 5: And we've done all kinds of like even season one

788
00:40:40,000 --> 00:40:43,600
Speaker 5: in the Quarry, which you would think like that's you know,

789
00:40:43,680 --> 00:40:45,960
Speaker 5: probably not even that much from a set deck standpoint

790
00:40:46,000 --> 00:40:48,520
Speaker 5: and there and there wasn't except they wanted to light

791
00:40:49,480 --> 00:40:51,719
Speaker 5: some of that scene with search and rescue where they

792
00:40:51,719 --> 00:40:56,160
Speaker 5: find Will's body or not real body, but you know,

793
00:40:57,320 --> 00:40:59,640
Speaker 5: they wanted to light that practically, and so we needed

794
00:40:59,600 --> 00:41:04,320
Speaker 5: a peer red whacker lights and just like the logistics

795
00:41:04,320 --> 00:41:07,359
Speaker 5: of like me me finding the lights that were there,

796
00:41:07,440 --> 00:41:12,759
Speaker 5: right government auctions and show their go to and so

797
00:41:12,800 --> 00:41:16,279
Speaker 5: we found something like Tennessee since sent transpot guys up

798
00:41:16,280 --> 00:41:18,200
Speaker 5: there to go pick them up and bring them back.

799
00:41:18,239 --> 00:41:20,839
Speaker 5: And then just John assessing that for the first time

800
00:41:20,960 --> 00:41:24,240
Speaker 5: is a you know, this like archaic mess of wires

801
00:41:24,280 --> 00:41:27,680
Speaker 5: and different things, and but he rewired those and they

802
00:41:27,680 --> 00:41:28,919
Speaker 5: looked great on camera. Wow.

803
00:41:29,040 --> 00:41:32,840
Speaker 1: So it's it's kind of funny. I did an interview

804
00:41:32,920 --> 00:41:37,680
Speaker 1: it's actually going to be the episode that follows this one, uh,

805
00:41:37,680 --> 00:41:41,640
Speaker 1: with a guy who was hired to to write a

806
00:41:42,160 --> 00:41:46,960
Speaker 1: full kind of like a workshop manual of the Ghostbusters technology.

807
00:41:47,360 --> 00:41:49,680
Speaker 1: And he was given full access to all the different

808
00:41:49,680 --> 00:41:51,400
Speaker 1: props and stuff. But it was his job to figure

809
00:41:51,400 --> 00:41:55,480
Speaker 1: out not just what the stuff was, but what it

810
00:41:55,600 --> 00:41:58,520
Speaker 1: used to be and how it actually works in real life,

811
00:41:58,560 --> 00:42:03,040
Speaker 1: and then how was it in the mythology of Ghostbusters

812
00:42:03,280 --> 00:42:05,840
Speaker 1: altered so that it works for that? And he started

813
00:42:05,880 --> 00:42:08,040
Speaker 1: looking at all the different pieces, like just imagine the

814
00:42:08,040 --> 00:42:10,680
Speaker 1: top of Ecto one, like the top of that car

815
00:42:11,320 --> 00:42:13,960
Speaker 1: and all the different accoutrement that were on top of it,

816
00:42:14,360 --> 00:42:18,000
Speaker 1: and he had to source all of that, and he says, Yeah,

817
00:42:18,120 --> 00:42:22,200
Speaker 1: they went to a junk yard that outside of a

818
00:42:22,320 --> 00:42:25,640
Speaker 1: NASA site and they got all of that and I

819
00:42:25,680 --> 00:42:28,719
Speaker 1: had to figure out what they were. And then how

820
00:42:28,719 --> 00:42:30,360
Speaker 1: does that help you catch ghosts?

821
00:42:31,160 --> 00:42:33,200
Speaker 5: Is there really a junk yard outside of NASA? Said,

822
00:42:33,200 --> 00:42:35,520
Speaker 5: Because that sounds amazing and I would kill.

823
00:42:35,840 --> 00:42:37,880
Speaker 1: I'll put you in touch with him, Yeah, because he

824
00:42:37,920 --> 00:42:40,600
Speaker 1: can tell you where they went to get all the

825
00:42:41,160 --> 00:42:44,000
Speaker 1: different pieces, because they had like various pieces of sonart

826
00:42:44,040 --> 00:42:49,319
Speaker 1: they had They had an old h I think it

827
00:42:49,400 --> 00:42:53,720
Speaker 1: was like an old ground to air missile launch case.

828
00:42:53,800 --> 00:42:56,799
Speaker 1: There was nothing in it because apparently that would be

829
00:42:56,840 --> 00:43:00,239
Speaker 1: bad to get out there. But yeah, so there's the Yeah,

830
00:43:00,400 --> 00:43:01,759
Speaker 1: I'll get you in touch with him because he can

831
00:43:01,840 --> 00:43:05,359
Speaker 1: certainly tell you more about where they sourced all that stuff. Yeah,

832
00:43:05,360 --> 00:43:07,440
Speaker 1: because that was it was somewhere out west, I know.

833
00:43:07,520 --> 00:43:11,120
Speaker 1: But and keep in mind Ghostbusters were made back in

834
00:43:11,160 --> 00:43:13,839
Speaker 1: the early eighties, so maybe they've tightened up since then,

835
00:43:15,000 --> 00:43:18,200
Speaker 1: but it was pretty it was pretty incredible, And yeah,

836
00:43:18,360 --> 00:43:22,680
Speaker 1: learning about that like that, that experience of having to

837
00:43:22,320 --> 00:43:27,600
Speaker 1: to really find out the way sources sometimes is fascinating

838
00:43:27,640 --> 00:43:30,280
Speaker 1: to me because you know, I hold on to stuff

839
00:43:30,480 --> 00:43:34,279
Speaker 1: fairly for a fairly long time. But I mean, it's

840
00:43:34,280 --> 00:43:36,000
Speaker 1: just technology is just one of those things that goes

841
00:43:36,000 --> 00:43:40,720
Speaker 1: obsolete so quickly. And also there's just so many different

842
00:43:40,760 --> 00:43:44,080
Speaker 1: parts that if any one part fails, the average person

843
00:43:44,560 --> 00:43:47,120
Speaker 1: is more likely to either go out and buy a

844
00:43:47,120 --> 00:43:48,759
Speaker 1: new one and just throw the old one away or

845
00:43:48,800 --> 00:43:51,360
Speaker 1: just do without, because a repair tends to be about

846
00:43:51,400 --> 00:43:53,120
Speaker 1: the same amount of money as it would cost to

847
00:43:53,160 --> 00:43:54,680
Speaker 1: just buy a new one anyway for a lot of

848
00:43:54,680 --> 00:43:58,000
Speaker 1: the older tech, So I imagine it gets really tricky,

849
00:43:58,080 --> 00:44:00,400
Speaker 1: especially if they want something that's going to work on screen.

850
00:44:00,440 --> 00:44:02,719
Speaker 1: If it's something that's just going to be like, all right,

851
00:44:02,760 --> 00:44:05,279
Speaker 1: well we just need this this washer dryer that was

852
00:44:05,600 --> 00:44:07,160
Speaker 1: back then, but whenever you're going to use it, we

853
00:44:07,200 --> 00:44:08,759
Speaker 1: just need in the background. I guess that's one thing,

854
00:44:08,760 --> 00:44:10,960
Speaker 1: But if we need a working one, that's a totally

855
00:44:11,000 --> 00:44:11,640
Speaker 1: different thing.

856
00:44:11,920 --> 00:44:15,960
Speaker 5: Yeah, it's this Season two has a lot of Well,

857
00:44:16,000 --> 00:44:19,280
Speaker 5: we have the Arcade, which has John and I. Early

858
00:44:19,320 --> 00:44:21,720
Speaker 5: on we were getting the scripts and stuff for season

859
00:44:21,719 --> 00:44:25,839
Speaker 5: two talking about like how to get arcade cabinets that

860
00:44:26,200 --> 00:44:28,200
Speaker 5: were in good enough shape or you know, when we

861
00:44:28,239 --> 00:44:31,000
Speaker 5: get real ones, and then there's all this. I don't

862
00:44:31,040 --> 00:44:33,360
Speaker 5: know if like the average viewer knows, but like playback

863
00:44:33,960 --> 00:44:36,440
Speaker 5: is a thing that we deal with constantly on Stranger Things.

864
00:44:36,520 --> 00:44:41,400
Speaker 5: It's the frame rate adjustment and stuff on various like

865
00:44:41,440 --> 00:44:42,360
Speaker 5: screens and monitors.

866
00:44:42,480 --> 00:44:45,759
Speaker 1: Right, so your screen that you're you're shooting is refreshing

867
00:44:45,760 --> 00:44:48,080
Speaker 1: at a certain rate, the camera is going at a

868
00:44:48,080 --> 00:44:50,120
Speaker 1: certain rate, and if that doesn't match up properly, that's

869
00:44:50,160 --> 00:44:52,640
Speaker 1: when you start getting those weird lines that start scrolling

870
00:44:52,719 --> 00:44:57,680
Speaker 1: across the screen, which is realistic, but it's distracting because

871
00:44:57,719 --> 00:44:59,840
Speaker 1: now you realize you're looking through the lens of a

872
00:44:59,880 --> 00:45:03,120
Speaker 1: CA camera as opposed to being an observer on a scene.

873
00:45:03,200 --> 00:45:04,719
Speaker 1: So you have to fix that all.

874
00:45:04,680 --> 00:45:08,239
Speaker 5: Right, and so and even season one was similar to

875
00:45:08,840 --> 00:45:14,319
Speaker 5: like the there's various security rooms like at Hawkins Lab,

876
00:45:14,360 --> 00:45:16,320
Speaker 5: and then we I think, I feel like I've bought

877
00:45:16,320 --> 00:45:19,920
Speaker 5: every Commodore sixty four available because they tend to be

878
00:45:20,000 --> 00:45:22,279
Speaker 5: fairly reliable and easy to work with and you can

879
00:45:22,600 --> 00:45:27,440
Speaker 5: put various things into them, and so doing something similar,

880
00:45:27,520 --> 00:45:29,000
Speaker 5: you know, a lot of I think a lot of

881
00:45:29,320 --> 00:45:33,600
Speaker 5: productions probably would have put like LED screens or LCB.

882
00:45:33,800 --> 00:45:36,279
Speaker 5: You know, they would have just updated with new technology

883
00:45:36,320 --> 00:45:39,280
Speaker 5: and not dealt with the playback aspect of running through

884
00:45:39,360 --> 00:45:42,600
Speaker 5: like CRT monitors with whatever we need to show on screen.

885
00:45:43,760 --> 00:45:46,120
Speaker 5: But we're we try to be as authentic as possible

886
00:45:46,120 --> 00:45:48,359
Speaker 5: and stranger things, and so there's just a lot of

887
00:45:48,680 --> 00:45:51,239
Speaker 5: our playback guy was always present. I felt like on

888
00:45:51,320 --> 00:45:54,680
Speaker 5: every set it was always like real monitors. Same with

889
00:45:54,719 --> 00:45:58,880
Speaker 5: the arcade, and we did it all pretty practically, leaving

890
00:45:59,000 --> 00:46:02,800
Speaker 5: a lot of those those alls monitors inside the cabinets

891
00:46:02,840 --> 00:46:06,160
Speaker 5: and then just like running stuff through them and adjusting

892
00:46:06,160 --> 00:46:06,680
Speaker 5: the frame rate.

893
00:46:06,960 --> 00:46:07,920
Speaker 2: So that's great.

894
00:46:08,080 --> 00:46:11,640
Speaker 1: I mean again, I just to me, that stuff definitely

895
00:46:11,640 --> 00:46:15,080
Speaker 1: pays off. Like again, it gives that that feel that

896
00:46:15,160 --> 00:46:19,880
Speaker 1: you want and that that sense that you're watching something

897
00:46:19,920 --> 00:46:24,440
Speaker 1: that was made years ago and yet with a modern sensibility.

898
00:46:24,760 --> 00:46:27,680
Speaker 1: So it's anyone who grew up around the same time

899
00:46:27,719 --> 00:46:31,160
Speaker 1: I did, I think just has that deep connection when

900
00:46:31,200 --> 00:46:33,239
Speaker 1: they see this there, you know, because it feels very

901
00:46:33,239 --> 00:46:36,400
Speaker 1: Spielbergian in many ways. You know. It just it's very

902
00:46:36,440 --> 00:46:40,560
Speaker 1: evocative of those those great films and TV series in

903
00:46:40,600 --> 00:46:44,759
Speaker 1: the eighties. So you guys did phenomenal work to recapture

904
00:46:44,800 --> 00:46:48,680
Speaker 1: that and to make it feel like it was on screen.

905
00:46:48,719 --> 00:46:51,320
Speaker 1: It looks effortless. I know that that's exactly the opposite

906
00:46:51,360 --> 00:46:54,200
Speaker 1: of what it really was. It was very, very full

907
00:46:54,200 --> 00:46:59,880
Speaker 1: of effort. But from an audience perspective, it just it

908
00:47:00,160 --> 00:47:02,719
Speaker 1: just works so well. So I'm really looking forward to

909
00:47:03,040 --> 00:47:05,920
Speaker 1: season two. We keep hearing rumors about how many seasons

910
00:47:05,920 --> 00:47:07,319
Speaker 1: they are going to be. I think there need to

911
00:47:07,320 --> 00:47:09,080
Speaker 1: be as many seasons as there need to be to

912
00:47:09,120 --> 00:47:12,640
Speaker 1: tell a story, and then we can we can close

913
00:47:12,680 --> 00:47:15,600
Speaker 1: the chapter on that book and want more. I'm happy

914
00:47:15,600 --> 00:47:19,960
Speaker 1: with that. We'll see because who knows what will happen

915
00:47:20,000 --> 00:47:23,279
Speaker 1: down the line. But I am so really excited to

916
00:47:23,320 --> 00:47:27,480
Speaker 1: see season two and beyond. And if you can put

917
00:47:27,520 --> 00:47:30,719
Speaker 1: a word in for they need a bald guy as

918
00:47:30,719 --> 00:47:34,480
Speaker 1: an extra, you know, even if he's just like screwing

919
00:47:34,480 --> 00:47:38,279
Speaker 1: a light bulbin in the background. I'm local, I'm right here,

920
00:47:38,920 --> 00:47:41,759
Speaker 1: I know Randy, So Randy and I go way back.

921
00:47:41,840 --> 00:47:44,000
Speaker 1: I can it's just throwing it out.

922
00:47:43,840 --> 00:47:46,080
Speaker 2: There maybe needs an assistant.

923
00:47:45,680 --> 00:47:48,600
Speaker 1: Yeah, who knows, I mean teaching assistant, or maybe just

924
00:47:48,640 --> 00:47:51,840
Speaker 1: like a guy to like deal with all the insanely

925
00:47:51,880 --> 00:47:56,120
Speaker 1: attractive women that he's dating. It's phenomenal. Really, it's like

926
00:47:56,160 --> 00:47:58,360
Speaker 1: we I had a discussion with him about that, Like

927
00:47:58,360 --> 00:48:01,280
Speaker 1: that was to me, like everything was believable up until

928
00:48:01,320 --> 00:48:05,680
Speaker 1: they showed me, Like I was buying into it right

929
00:48:05,760 --> 00:48:08,160
Speaker 1: up to that, and he's like, thanks, Jonathan, thanks a lot,

930
00:48:08,760 --> 00:48:12,600
Speaker 1: You're welcome, Randy, You're good guy. Thank you Jess and

931
00:48:12,680 --> 00:48:16,040
Speaker 1: John for joining me on this show. I really appreciate

932
00:48:16,080 --> 00:48:18,680
Speaker 1: the opportunity to explore what it is you do and

933
00:48:18,719 --> 00:48:21,880
Speaker 1: get a deeper appreciation for the work that goes on

934
00:48:22,040 --> 00:48:26,160
Speaker 1: behind the scenes. And this was phenomenal. I wish you

935
00:48:26,160 --> 00:48:29,600
Speaker 1: guys the best of luck and success in the future,

936
00:48:30,360 --> 00:48:32,520
Speaker 1: and maybe we'll have you on again at some point.

937
00:48:32,600 --> 00:48:35,640
Speaker 1: We'll talk about some other crazy stuff like you know,

938
00:48:35,960 --> 00:48:39,080
Speaker 1: let me tell you what now is the hardest prop

939
00:48:39,280 --> 00:48:41,360
Speaker 1: I've ever had to find. You never know when that

940
00:48:41,400 --> 00:48:44,520
Speaker 1: story is going to change totally. Well, thank you guys again,

941
00:48:44,680 --> 00:48:48,160
Speaker 1: thank you, thank you. I know it sounds like a

942
00:48:48,160 --> 00:48:50,800
Speaker 1: broken record, but once again I have to thank Jess

943
00:48:50,840 --> 00:48:53,920
Speaker 1: and John for coming into the office and talking with us,

944
00:48:53,960 --> 00:48:56,760
Speaker 1: and of course thank you Ramsey for landing the interview.

945
00:48:56,800 --> 00:48:59,200
Speaker 1: It was an amazing opportunity and I think it really

946
00:48:59,239 --> 00:49:02,919
Speaker 1: turned out great. I very much enjoyed this. Like I said,

947
00:49:02,920 --> 00:49:04,719
Speaker 1: I'm a huge fan of the show, and also just

948
00:49:04,800 --> 00:49:08,279
Speaker 1: learning more about what goes on behind the scenes on

949
00:49:08,600 --> 00:49:11,399
Speaker 1: any kind of shoot is fascinating to me. I see

950
00:49:11,440 --> 00:49:13,560
Speaker 1: all these terms all the time, and I don't really

951
00:49:13,560 --> 00:49:16,120
Speaker 1: have a working knowledge of what they all mean. So

952
00:49:16,200 --> 00:49:19,680
Speaker 1: we're hoping that in the future we'll get other professionals

953
00:49:19,680 --> 00:49:22,719
Speaker 1: who have worked on various productions here in the Atlanta

954
00:49:22,800 --> 00:49:25,239
Speaker 1: area to talk more about what it is they do

955
00:49:25,440 --> 00:49:28,920
Speaker 1: so we can understand how the Best Boy turned out

956
00:49:28,960 --> 00:49:33,680
Speaker 1: to be so darn best Because we don't know. We

957
00:49:33,719 --> 00:49:38,200
Speaker 1: want to know, but we don't know. You might already know,

958
00:49:38,280 --> 00:49:39,919
Speaker 1: but keep it to yourself because I'm going to ask

959
00:49:39,960 --> 00:49:42,800
Speaker 1: that best Boy when they get them in the the studio,

960
00:49:42,920 --> 00:49:44,640
Speaker 1: So you guys, just hold on to that. But if

961
00:49:44,640 --> 00:49:47,200
Speaker 1: you do have any suggestions for topics that you would

962
00:49:47,239 --> 00:49:49,160
Speaker 1: like us to cover in future episodes of Tech Stuff,

963
00:49:49,640 --> 00:49:52,400
Speaker 1: or maybe there's a company that I should focus on

964
00:49:52,560 --> 00:49:55,160
Speaker 1: or a particular person in tech, send me a message

965
00:49:55,239 --> 00:49:57,680
Speaker 1: let me know. The email address is tech Stuff at

966
00:49:57,680 --> 00:50:00,800
Speaker 1: houstuffworks dot com, or drop me a line on Facebook

967
00:50:00,880 --> 00:50:02,719
Speaker 1: or Twitter. The handle at both of those would be

968
00:50:02,760 --> 00:50:07,000
Speaker 1: tech Stuff HSW. Remember you can watch me record shows

969
00:50:07,040 --> 00:50:10,480
Speaker 1: live on Wednesdays and Fridays that happens over at twitch

970
00:50:10,520 --> 00:50:14,319
Speaker 1: dot tv slash tech stuff, and there you'll see not

971
00:50:14,440 --> 00:50:18,320
Speaker 1: just the whole process of me recording, but what happens

972
00:50:18,360 --> 00:50:21,719
Speaker 1: when I make mistakes, which is more frequent than I

973
00:50:21,760 --> 00:50:25,600
Speaker 1: care to admit. So come on watch and laugh and

974
00:50:25,719 --> 00:50:27,839
Speaker 1: learn and maybe even fall in love.

975
00:50:28,400 --> 00:50:29,160
Speaker 2: Who knows who.

976
00:50:29,000 --> 00:50:31,160
Speaker 1: Will show up in that chatroom, and I will talk

977
00:50:31,200 --> 00:50:33,200
Speaker 1: to you guys again really soon

978
00:50:39,160 --> 00:50:41,600
Speaker 5: For more on this and thousands of other topics, because

979
00:50:41,640 --> 00:50:52,600
Speaker 5: at houstuffworks dot com