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Speaker 1: Welcome to Stuff You Missed in History Class, a production

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Speaker 1: of iHeartRadio. Hello, and welcome to the podcast. I'm Holly

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Speaker 1: Frye and I'm Tracy be Wilson. Tracy, we have an

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Speaker 1: interview today that I have been wanting to do for

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Speaker 1: a very long time. At this point, He've been talking

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Speaker 1: about it for a while. I know you're probably like,

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Speaker 1: this is never going to happen, But it did because

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Speaker 1: several months back, Leslie iwork's team reached out to me

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Speaker 1: and asked if I would be interested in talking to

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Speaker 1: Leslie on the show, and the answer was a resounding yes.

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Speaker 1: I would have wanted to talk to her before that.

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Speaker 1: I think she's amazing. Our schedules, though, just did not

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Speaker 1: want to cooperate. It became comedic where it was like, well,

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Speaker 1: I'm getting back from California on this day. I could

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Speaker 1: do any time after that the following week and it

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Speaker 1: would be like no. Then Leslie starts her travel that

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Speaker 1: night and it would be like Okay, well, uh, Leslie's

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Speaker 1: gonna be back this day, and I'm like I will

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Speaker 1: be on a flight to Italy. Like it just nothing

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Speaker 1: was working. But we finally wrestled those schedules to the ground. Yeah.

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Speaker 1: I like how it finally worked when I was on vacation.

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Speaker 1: Perfect timing actually was perfect. Yeah, it was during a

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Speaker 1: week when we were not doing our regular record. We

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Speaker 1: did some recording before you went on vacation, so I

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Speaker 1: had like some freed up time in there, and it

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Speaker 1: just everything came together as it should. Hooray. If the

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Speaker 1: name Iworks sounds familiar, it's because it's come up on

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Speaker 1: the show before, although it's been quite a while.

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Speaker 2: I Works.

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Speaker 1: Leslie's grandfather was an animator and cartoonist and director and

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Speaker 1: special effects artist and many other things, and also famously

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Speaker 1: Walt Disney's partner from his earliest years in Kansas City.

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Speaker 1: Don I Works, Leslie's father spent third years at the

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Speaker 1: Disney Company, pushing the boundaries of film's more technical side

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Speaker 1: and venting, among other things, the first three hundred and

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Speaker 1: sixty degree camera. So Leslie's pedigree is really quite impressive,

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Speaker 1: and Leslie herself is very impressive. She is a filmmaker.

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Speaker 1: Her latest project is a documentary titled Disneyland Handcrafted, and

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Speaker 1: it shares the story of Disneyland's construction, something we talked

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Speaker 1: about in our Haunted Mansion episodes, which were quite a

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Speaker 1: while back now, although we have rerun them as classics.

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Speaker 1: I think when the pandemic first popped off and everyone

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Speaker 1: was at home, we did a list of our favorite

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Speaker 1: episodes that we republished, and that was on there because

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Speaker 1: I love that place. But this is a really beautiful

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Speaker 1: look and also terrifying, as we'll discuss in the course

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Speaker 1: of the interview, look at how Disneyland went from an empty,

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Speaker 1: massive lot to the place the amusement park that we

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Speaker 1: all know today at Leslie very graciously spent time talking

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Speaker 1: to me about making this film. So here is our conversation.

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Speaker 1: I am so beyond delighted to get to be here

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Speaker 1: today with Leslie. I works someone who's work I have

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Speaker 1: admired a great deal and we're going to jump right in. So, Leslie,

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Speaker 1: your grandfather's story was of course incredibly instrumental in your

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Speaker 1: decision to become a documentary filmmaker rather than what you

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Speaker 1: initially went to film school for, which was narrative film

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Speaker 1: I believe. Will you talk about that and how that

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Speaker 1: resulted in your first film, The Hand Behind the Mouse.

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Speaker 2: Sure, First of all, thanks for having me on the show.

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Speaker 2: Nice to be here. Yeah, I you know, I went

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Speaker 2: to fill USC have a great time, and when I graduated,

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Speaker 2: you know, everyone's always trying to look for what are

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Speaker 2: they going to do next, what's our next project, and

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Speaker 2: what's what are they passionate about? And I think for

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Speaker 2: me it was to tell the story of my grandfather,

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Speaker 2: who who I never got to know because he died

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Speaker 2: when I was just one. So I thought, you know what,

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Speaker 2: I now armed with a film degree, and I want

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Speaker 2: to tell his story in a documentary. And so I

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Speaker 2: got the support of roy Disney roy E Disney to

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Speaker 2: do it in Michael Eisner, and you know, I think

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Speaker 2: they probably thought it was going to be like a

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Speaker 2: small little doc and you know, no big deal, and

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Speaker 2: then it ended up being a They said, well, we'll

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Speaker 2: fund you for sixty minutes, and I really wanted it

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Speaker 2: to be a ninety and I just have a great

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Speaker 2: time and made the best film I could. And when

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Speaker 2: they saw the sixty they said, well, actually it's so good,

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Speaker 2: we'll fund you for an additional thirty to make it

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Speaker 2: what you really wanted. So that's that was great and

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Speaker 2: ultimately became this project of fulfillment in a way to

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Speaker 2: get to know my grandfather that I never got to know,

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Speaker 2: and I traveled all the way through and walked in

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Speaker 2: the footsteps of Walton and my grandfather back in Kansas City.

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Speaker 2: For those that don't know, his name was by Works,

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Speaker 2: and he was Walt's original business partner and collaborator for

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Speaker 2: the majority of his life. As an animator and also

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Speaker 2: as an Academy Award winning visual effects and engineer. He

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Speaker 2: developed all sorts of camera systems, projection systems, and all

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Speaker 2: sorts of things for the parks. So it was a

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Speaker 2: multi part story that I was able to tell and

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Speaker 2: really get into all the facets of his life. And

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Speaker 2: so that was a lot of fun for.

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Speaker 1: Me, and you have subsequently made a lot more document her.

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Speaker 1: He's both in standalone form and as series like Recycled Life,

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Speaker 1: the Pixar Story, one of my very favorites. Industrial light

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Speaker 1: and magic, creating the impossible, and on and on. If

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Speaker 1: somebody just wants to spend like a great weekend on

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Speaker 1: the couch where they learn a lot and have fun,

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Speaker 1: your library is like where it's at. Ah, thank you,

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Speaker 1: Oh it's listen. Researching for this like doing my reviews.

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Speaker 1: I was very delighted to call it work. Not all

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Speaker 1: of those films are about creative people and endeavors, but

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Speaker 1: a lot of them are. And I have heard you

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Speaker 1: speak before about growing up around the work of your father,

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Speaker 1: Don Iworks, who was also groundbreaking in filmmaking and as

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Speaker 1: an inventor and technology. How as being immersed in that

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Speaker 1: world of filmmaking from the time you were very young

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Speaker 1: informed the way that you tell stories, and particularly stories

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Speaker 1: of creative people.

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Speaker 2: It's a good question. I've often wanted that myself. I mean, basically,

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Speaker 2: what I really think happened is that I was given

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Speaker 2: the opportunity to go behind the scenes with my dad

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Speaker 2: as a kid, whether that be the Disney Studio back

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Speaker 2: lot when it was still a working set, you know,

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Speaker 2: back lot with movies happening and in production, and also

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Speaker 2: to the parks backstage Disneyland and Walt Disney World and Epcot,

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Speaker 2: and I got to see is a little kid is

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Speaker 2: you know, a young adult little kid young how things

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Speaker 2: are done? And he would always be very generous in

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Speaker 2: sharing with me how things are done, and it just

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Speaker 2: I think created this inquisitiveness in me to want to know,

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Speaker 2: you know, how do movies get made? How do you

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Speaker 2: know how do these animatronic figures get made, and he

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Speaker 2: would show me how cameras get built and how he

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Speaker 2: comes up with optics and lenses and all sorts of things.

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Speaker 2: So it was not only technologically, it was also movie

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Speaker 2: making as well, and I think that early interest fueled

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Speaker 2: my interest to go to film school, and ultimately, ironically

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Speaker 2: or not, that the fact that I've told stories about

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Speaker 2: how things are do get made, whether it be industrial

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Speaker 2: like and magic and the visual effects, or whether it

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Speaker 2: be you know, Pixar and how they make their films,

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Speaker 2: or whether it be imagineering and how they make the

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Speaker 2: parks and the rides and the attractions. It's all kind

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Speaker 2: of interesting to me. But I think what really was

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Speaker 2: interesting to me also in a young young age, was business.

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Speaker 2: Business and business opportunities and how people find something and

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Speaker 2: find a niche that needs to be, you know, a

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Speaker 2: hole that needs to be filled out there in the world,

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Speaker 2: and they figure out a way to create it and

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Speaker 2: build it and bring it into fruition. And also innovation,

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Speaker 2: and so innovation, business and creativity I think are the

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Speaker 2: three pillars of a lot of my work. And I

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Speaker 2: really enjoy all those stories even independently, but when they

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Speaker 2: come together, it's really exciting.

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Speaker 1: Speaking of exciting ways they've come together, your most recent project, Handcrafted,

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Speaker 1: delves into the creation of Disneyland, which hits all of

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Speaker 1: those pillars. There is some amazing footage in this documentary because,

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Speaker 1: as you mentioned in it, while Disney hired photographers and

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Speaker 1: cinematographers to basically have the construction documented throughout, and you

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Speaker 1: ended up with a lot of footage that no one

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Speaker 1: had ever seen before that you to work with. How

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Speaker 1: do you begin to sort through all of that when

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Speaker 1: you realize you have to turn that into a film?

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Speaker 2: Well it, how do I even begin? I think what

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Speaker 2: happened was we found these binders that were in the

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Speaker 2: film archives, and we borrowed them and looked through them,

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Speaker 2: and they were from like the fifties, right sixties, and

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Speaker 2: they were the list of film reels that were taken

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Speaker 2: captured during the making of the Disneyland park and film

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Speaker 2: reels post Disneyland, you know, opening over the next decade.

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Speaker 1: Right.

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Speaker 2: So we started going through all this for the Imagineering Story,

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Speaker 2: and we used quite a bit of it in The

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Speaker 2: Imagineering Story Episode one. But my editor most Stobe had said,

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Speaker 2: you know, one day, He's like, you know what if

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Speaker 2: we tried to do something that's just using this footage

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Speaker 2: by itself al veritay and I said, well, that's a

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Speaker 2: great idea. I said, you know, you need to find

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Speaker 2: a structure for it and figure out, you know, how

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Speaker 2: much is there and find the audio bytes to support that.

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Speaker 1: Right.

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Speaker 2: I didn't want to do talking heads, typical talking heads.

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Speaker 2: I didn't want to do still photos. I think what

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Speaker 2: really intrigued me and intrigued us as a team was

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Speaker 2: the fact that this footage was shot by the photographers

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Speaker 2: who were some of the true life adventure photographers at Disney,

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Speaker 2: hired to go shoot animals in Africa and you know,

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Speaker 2: groundhogs on the prairie and things like that, and so

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Speaker 2: these guys were so used to documenting real life as

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Speaker 2: it happens for hours. So that was intriguing to me

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Speaker 2: that they shot these scenes as scenes. But when you

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Speaker 2: look at the reels and the way we received them,

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Speaker 2: they were all over the map, they were all disorganized,

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Speaker 2: and we'd have to basically find the one shot that

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Speaker 2: was on real thirty two and then another shot part

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Speaker 2: of that scene that was on sixty five, and we

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Speaker 2: finally had to like organize, you know what, became probably

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Speaker 2: six sixty to seventy hours material just for the pre opening,

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Speaker 2: and so taking all that information, all that and figuring out,

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Speaker 2: like an archaeological dig, what was this mound of dirt

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Speaker 2: and where did what direction was it facing, what direction

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Speaker 2: is the camera facing, and what is that going to

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Speaker 2: be down the road? Is that tomorrow Land? Is that Adventureland?

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Speaker 2: So all that stuff became a major feat for my

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Speaker 2: editor Mo and my producer Mark Ketley and myself to

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Speaker 2: really go through it all and figure out, okay, well

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Speaker 2: what is what? But then now it was about how

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Speaker 2: do we tell the story? Because construction footage by itself

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Speaker 2: can be a bit boring, so we need a story.

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Speaker 2: So then we started going through all these transcripts of

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Speaker 2: people figuring out who was there at the time, through

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Speaker 2: photographs that we've seen and research that we found in

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Speaker 2: the Disney archives, who was there and who were the

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Speaker 2: key people involved in the making of the park. I mean,

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Speaker 2: there's a lot of people, but there were some, obviously,

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Speaker 2: people that were kind of right front and center in

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Speaker 2: the major parts of it, the finance, the engineering, the story,

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Speaker 2: the construction, the leadership of all that. So we found

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Speaker 2: we started going through all these transcripts of people and

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Speaker 2: then realizing that so much that was there that was

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Speaker 2: interesting was about the drama happening behind the scenes, right

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Speaker 2: and it was the fact that Walt was crazy, and

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Speaker 2: Walt was insane, and you know, how's he ever going

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Speaker 2: to do this? And he's going to run the company

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Speaker 2: into the ground, and you know, there was so much

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Speaker 2: doubt and fear in some cases of just can this

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Speaker 2: get done? And then ultimately the Disneyland TV show with

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Speaker 2: ABC promised to have this park done in a year,

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Speaker 2: So he set himself up for what should have been

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Speaker 2: total failure to make that park. In today's world that

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Speaker 2: would never happen. And the fact that he did, I

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Speaker 2: think is the ultimate feet of this film. And I

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Speaker 2: think was also unique in this film is that it's

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Speaker 2: never been told in this way before, just straightforward footage

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Speaker 2: that allows you to sit in it and immerse yourself

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Speaker 2: in it. And that's really what we wanted to do,

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Speaker 2: is take you back in time into this time capsule

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Speaker 2: of that plot of dirt that that would become the

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Speaker 2: happiest place on earth, and see how they did it.

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Speaker 1: I imagine there are a number of times when you

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Speaker 1: were going through all of those hours of archival footage

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Speaker 1: and notes in information where you get some surprises along

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Speaker 1: the way. Did any of those happen in this project?

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Speaker 1: And what were they? Well?

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Speaker 2: I think, you know, to me, what stood out was

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Speaker 2: so much of the detail in building, the like the

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Speaker 2: brick and the you know, just crafting things by hand.

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Speaker 2: You know, you kind of take it for granted now

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Speaker 2: when you walk through the park that this park was

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Speaker 2: always you always think it's it was always here, you know,

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Speaker 2: and and but this was the very origin story of it,

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Speaker 2: and how they the level of detail that they went

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Speaker 2: with to create it. It could have been any other

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Speaker 2: amusement park that's kind of just off the shelf stuff,

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Speaker 2: but they they literally crafted so much of this by hand,

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Speaker 2: so much artistry to it, that you really gain a

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Speaker 2: whole new appreciation for it. And I think the fact

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Speaker 2: that they only had about ten percent of the plans

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Speaker 2: built when they started making a Disneyland, that's incredible to me.

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Speaker 2: And I had never known that, And so I think

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Speaker 2: those were little surprises along the way as we started

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Speaker 2: to read the transcripts.

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Speaker 1: Yeah, yeah, that's the kind of thing that if a

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Speaker 1: person in a leadership position did today, Like I only

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Speaker 1: have ten percent of this planned out, but we're gonna

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Speaker 1: go ahead and get guys on the ground. They get fired, right,

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Speaker 1: It's not it's not anything that's really tenable in most

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Speaker 1: people's eyes.

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Speaker 2: Yeah, And I think also what's interesting is to see

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Speaker 2: those guys walking on those beams, smoking, you know, and

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Speaker 2: going up and down the sliding down this beam, and

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Speaker 2: it's just like the sheer fearlessness at that time of

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Speaker 2: just getting this done and not caring about I mean,

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Speaker 2: OSHA was not even a thing then, so it was

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Speaker 2: just like, let's just do it. And I think that

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Speaker 2: that's so refreshing for so many people to just have

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Speaker 2: that ability to, you know, just go do it. There

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Speaker 2: weren't a lot of rules and stuff, you know.

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Speaker 1: Yeah, it's so easy for people today to think of

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Speaker 1: Disney as this very money flush juggernaut of a company,

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Speaker 1: but your documentary really shows how tight money was in

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Speaker 1: those early days and how stressful this project was for

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Speaker 1: everyone involved, but of course for Walt Disney in particular.

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Speaker 1: How much of that heavier side of this project were

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Speaker 1: you aware of before you started making the film.

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Speaker 2: Well, I certainly knew about it, because I've done a

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Speaker 2: lot of research on Disneyland and read a ton of

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Speaker 2: the books and whatnot and so, and also having told

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Speaker 2: Imagineering story episode one, I was aware of a lot

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Speaker 2: of those stories, and I think for me, I just

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Speaker 2: I didn't want to tell that story the same way. Again,

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Speaker 2: there was a there's a book called Disney's Land that

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Speaker 2: I really appreciated, and I think that that book was

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Speaker 2: very inspirational too, and that it really does get into

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Speaker 2: the kind of the hardship of behind the scenes of

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Speaker 2: what it took to make the park, to build it,

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Speaker 2: you know, to put it together. And so I took that.

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Speaker 2: I took that very seriously and really wanted you to

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Speaker 2: feel it. And I think with the choice of music

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Speaker 2: that we used, and it's it's not your typical happy

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Speaker 2: Disney you know cues, it's it's actually a little more

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Speaker 2: grounded and making you feel Yeah, the more the weight

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Speaker 2: I think of what they were all going through.

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Speaker 1: We have talked on this show before about the timeline

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Speaker 1: of Disneyland's construction, and so even being aware of it,

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Speaker 1: seeing just how much, like getting the visual of how

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Speaker 1: much was still undone even a few months before opening,

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Speaker 1: is a very different thing. Yeah, did seeing that footage

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Speaker 1: give you as much anxiety as it did me, Like,

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Speaker 1: I know it's going to turn out. I know we're

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Speaker 1: going to land the ship, but it still was like,

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Speaker 1: this is very stressful.

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Speaker 2: Yeah it is, and it so many people have said

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Speaker 2: to me. My heart was racing towards the end there.

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Speaker 2: It's like are they going to you know, how are

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Speaker 2: they going to do it? And I think that's I

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Speaker 2: think when you finally get to the rehearsals a few

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Speaker 2: days before and everyone's all over themselves, all over the place,

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Speaker 2: on top of each other in the park trying to

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Speaker 2: rehearse for the TV show that's live across the country

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Speaker 2: and also finish the park at the same time. I mean,

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Speaker 2: that's conflict. And I think that once we started seeing

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Speaker 2: all that come together and knowing that you still got

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Speaker 2: wet cement and you still have tomorrow Land that's not

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Speaker 2: built finished yet, and you start to feel the pressure.

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Speaker 2: And we also the editing style I think also started

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Speaker 2: to get a little bit quicker, and you start to

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Speaker 2: really feel the tension as we go, you start to

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Speaker 2: edit a little bit faster is in pacing, and so

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Speaker 2: that's a subliminal way to kind of know, okay, well

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Speaker 2: they were acting faster, and we need to edit faster,

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Speaker 2: you know, to create that phonetic energy.

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Speaker 1: Yeah, there were two quotes that really stood out to

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Speaker 1: me in it. One was from harber Goff where he says,

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Speaker 1: I didn't understand what worry was until he was talking

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Speaker 1: to Walt about, you know, just Walt's day to day concerns.

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Speaker 1: And then the other one being art link letter saying

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Speaker 1: it was a great, big panic all the time.

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Speaker 2: Yeah.

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Speaker 1: And when you think about those two things in conjunction,

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Speaker 1: it sounds like it's a marvel. Everyone didn't have a

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Speaker 1: heart attack.

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Speaker 2: It's true, especially Walt. Yeah, you know, I agree. It

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Speaker 2: seemed like maybe at the beginning when they were making,

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Speaker 2: you know, doing gag shots and gag scenes and having

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Speaker 2: fun in the in the field, Yeah, you didn't see

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Speaker 2: so much of that as it got closer to the finish.

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Speaker 1: Did you have any difficulty reconciling all of this information

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Speaker 1: about just how stressed Walt actually was every single day

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Speaker 1: with that very cool, smooth, assured persona that he was

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Speaker 1: always showing the public on television and in interview appearances.

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Speaker 2: Well, yeah, I mean it's funny because he had to

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Speaker 2: put on that persona obviously, he's Uncle Walt to so

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Speaker 2: many people around the country, and he had to show

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Speaker 2: that that sort of real confidence and sureness. But what

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Speaker 2: I thought was actually pretty brilliant was in the TV show,

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Speaker 2: they made fun of themselves. You know, they acknowledge that

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Speaker 2: they're in the final race and it's you know, all

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Speaker 2: hands on deck and it's the final push. And you know,

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Speaker 2: even when the guy was falling over in the tractor

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Speaker 2: and jumps out that scene, they said, oh, nobody got hurt,

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Speaker 2: you know, and you know, we can tell you to

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Speaker 2: continue to have a good time. I mean, it's they

356
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Speaker 2: kind of make light of a lot of it, but

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Speaker 2: then they're also acknowledging that they're they're in that final

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Speaker 2: stretch and it's and it's harried, right, And so I

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Speaker 2: think by by just being open about it and not

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Speaker 2: denying that and sharing that with the audience, I think

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Speaker 2: that was really smart. They brought the audience into the

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Speaker 2: whole process and shared it with them.

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Speaker 1: Yeah. Oh the gasp, I gasped when that big tractor

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Speaker 1: goes over. I was like, oh, oh, he's fine. Okay,

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Speaker 1: that's fine, that's fine. I know you talked a little

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Speaker 1: bit about this already, and approaching this with a very

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Speaker 1: verite style in mind. But to be clear to any

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Speaker 1: of our listeners reviewers who haven't seen it, this film

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Speaker 1: includes voice recordings of people who were working on the

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Speaker 1: Disneyland project. But you never cut away to those interviews,

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Speaker 1: like to show the person speaking. And I think correct

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Speaker 1: me if I'm wrong. You enhanced some of the sound

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Speaker 1: of the original footage. So those those kind of immersive

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Speaker 1: sounds of like hammers hitting things and you know, trowels

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Speaker 1: scraping against stone, et cetera, are there, and the footage

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Speaker 1: is always the building and the construction, and it becomes

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Speaker 1: really really powerful. Were there any was that always did

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Speaker 1: you already always have this vision that we're never cutting

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Speaker 1: away from this construction or did that kind of congeal

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Speaker 1: in the process of laying out what you had?

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Speaker 2: No we early on it was like, we're staying all

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Speaker 2: in in this footage. We're not going to cut away

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Speaker 2: to somewhere else, right, or a flashback to something. It

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Speaker 2: was always about staying in the moment as if you

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Speaker 2: were there and living in it. And that was and

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Speaker 2: then the sound effects were really something that I that

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Speaker 2: was important to me because I knew that all this

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Speaker 2: footage was mos. It was there was no sound to

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Speaker 2: this raw footage that we got right and they didn't

390
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Speaker 2: record sound when they were in the field, so it

391
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Speaker 2: was all silent, and so when it came to together,

392
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Speaker 2: we had to do a temp audio track to build

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Speaker 2: in all these sound effects, and that's when it really

394
00:22:05,359 --> 00:22:08,199
Speaker 2: started to come alive as a proof of concept that

395
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Speaker 2: we did. And then we added some voiceovers to it

396
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Speaker 2: and just to kind of see get a feel for it,

397
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Speaker 2: and that's when Disney Plus said, Okay, this is great.

398
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Speaker 2: And then the project kind of went on hold for

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Speaker 2: a bit and then kind of sat on a shelf

400
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Speaker 2: for a number of reasons, not due to the project itself.

401
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Speaker 2: It was just you know, what have you. And then

402
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Speaker 2: Jason Recker with Disney Experiences saw it. I showed him

403
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Speaker 2: a copy. I'm like, by the way, your seventieth anniversary

404
00:22:33,040 --> 00:22:35,959
Speaker 2: of Disneyland's coming up, and you know, I got this

405
00:22:36,040 --> 00:22:38,480
Speaker 2: project if you're interested, is sitting on a shelf. And

406
00:22:38,960 --> 00:22:40,920
Speaker 2: he was like, oh my god, this is amazing. So

407
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Speaker 2: they funded the completion of it, and I think what

408
00:22:45,920 --> 00:22:49,919
Speaker 2: was great was that once we got the real the

409
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Speaker 2: finishing funds to do that, it was like all hands

410
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Speaker 2: on deck. We got to get all the sound bites,

411
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Speaker 2: we got to get all the audio clips, all the

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Speaker 2: audio effects, sound effects to go with it, and I said,

413
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Speaker 2: it has to be authentic. Every single thing you see

414
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Speaker 2: has to feel authentic, and it has to be from

415
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Speaker 2: that era. So tractors have to be from the fifty four,

416
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Speaker 2: you know, the hammers or whatever, you know, whatever saws

417
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Speaker 2: they use at that time. Obviously you can't. They didn't

418
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Speaker 2: have electric and I'll think to that. So it had

419
00:23:19,040 --> 00:23:20,880
Speaker 2: to be really authentic to the time of what they

420
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Speaker 2: were doing. And so we did that to the best

421
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Speaker 2: of our ability in the offline edit. But then once

422
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Speaker 2: we got to Skywalker, Bonnie Wilde and I had a

423
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Speaker 2: conversation and I told her that I said, look at

424
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Speaker 2: let's just make this as authentic as it can be.

425
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Speaker 2: Go the extra mile to get the period effects, and

426
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Speaker 2: then work with Disney to get the sounds from the

427
00:23:40,240 --> 00:23:42,600
Speaker 2: park at that time as well, because Disney has a

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Speaker 2: library of sounds, and it was harder than we thought

429
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Speaker 2: to try to get some of those authentic Disneyland sounds

430
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Speaker 2: from that from that first year, but we were able

431
00:23:50,560 --> 00:23:53,639
Speaker 2: to get some, so it was fun. And then and

432
00:23:53,640 --> 00:23:56,399
Speaker 2: then like the Mark Twain in that scene, and you know,

433
00:23:56,440 --> 00:23:59,280
Speaker 2: you got you got water, and you got the sound

434
00:23:59,320 --> 00:24:01,800
Speaker 2: of the engine and the paddle wheeler, and you've got

435
00:24:01,960 --> 00:24:05,520
Speaker 2: you know, voices of people in the distance, And we

436
00:24:05,600 --> 00:24:09,439
Speaker 2: didn't want to ever fabricate what somebody might be saying.

437
00:24:09,680 --> 00:24:14,359
Speaker 2: So it's really just more muffully general ambiance because we

438
00:24:14,400 --> 00:24:16,920
Speaker 2: could have we could have made some stuff up, and

439
00:24:17,640 --> 00:24:19,840
Speaker 2: no way we would ever do that. Like, I was

440
00:24:19,920 --> 00:24:23,880
Speaker 2: so protective of this footage and wanted to make sure

441
00:24:23,960 --> 00:24:26,760
Speaker 2: that it lived up to what it could have what

442
00:24:26,800 --> 00:24:28,440
Speaker 2: it must have been like at that time.

443
00:24:29,160 --> 00:24:32,399
Speaker 1: Right, it sounds incredible. I know. I've seen footage of

444
00:24:32,440 --> 00:24:36,200
Speaker 1: you in the Stag Theater at Skywalker Sound, which is

445
00:24:36,240 --> 00:24:38,840
Speaker 1: an incredible place, and I've been lucky enough to visit once.

446
00:24:39,040 --> 00:24:41,879
Speaker 1: I can only imagine what this sounded like in that setting,

447
00:24:41,920 --> 00:24:44,399
Speaker 1: because for our listeners, this is like a theater that

448
00:24:44,480 --> 00:24:48,679
Speaker 1: is optimized to sound incredible and delivered the best possible audio.

449
00:24:49,040 --> 00:24:51,360
Speaker 1: I feel like the Hammers alone would be like oddly

450
00:24:51,440 --> 00:24:52,480
Speaker 1: joyous in that theater.

451
00:24:53,960 --> 00:24:56,880
Speaker 2: Yeah, it was incredible. That's the theater. And I sat

452
00:24:56,880 --> 00:25:00,840
Speaker 2: in George Lucas's seat in the center, the optimal seat

453
00:25:00,920 --> 00:25:04,320
Speaker 2: for sound, and we mixed it in at Most and

454
00:25:05,040 --> 00:25:09,479
Speaker 2: it was really fun because, you know, the idea was

455
00:25:09,560 --> 00:25:12,399
Speaker 2: that if you're in there in the park in nineteen

456
00:25:12,400 --> 00:25:17,760
Speaker 2: fifty four during construction, then you are hearing stuff all

457
00:25:17,800 --> 00:25:20,959
Speaker 2: around you. You're hearing hammers back there, you're hearing trucks

458
00:25:20,960 --> 00:25:24,000
Speaker 2: over here, you're doing you know, so, you're hearing voices

459
00:25:24,040 --> 00:25:26,359
Speaker 2: here and there, you're seeing it, you're hearing a helicopter

460
00:25:26,400 --> 00:25:29,199
Speaker 2: fly over. And so to me, it was exciting to

461
00:25:29,320 --> 00:25:34,159
Speaker 2: build that that three sixty audio escape soundscape, you know,

462
00:25:34,960 --> 00:25:36,480
Speaker 2: and that was we put a lot of effort into

463
00:25:36,560 --> 00:25:38,720
Speaker 2: that and it was fun to do that. And I

464
00:25:38,760 --> 00:25:42,320
Speaker 2: hope there's more opportunities to show this film theatrically so

465
00:25:42,359 --> 00:25:45,920
Speaker 2: we can that atmost the work we did in at

466
00:25:45,960 --> 00:25:48,520
Speaker 2: most pay you know, people can experience more.

467
00:25:49,359 --> 00:25:52,359
Speaker 1: So good. This is a good example of something that

468
00:25:52,400 --> 00:25:55,120
Speaker 1: you've done a few times in your career as a director,

469
00:25:55,480 --> 00:25:58,600
Speaker 1: where you are immersing yourself so deeply in these projects

470
00:25:58,600 --> 00:26:03,040
Speaker 1: that are about people doing incredibly creative and impressive things,

471
00:26:03,080 --> 00:26:07,000
Speaker 1: but they're often perceived by others as being completely impossible

472
00:26:07,040 --> 00:26:10,919
Speaker 1: before they are accomplished. What lessons have you learned or

473
00:26:10,960 --> 00:26:13,919
Speaker 1: taken away from researching and studying all of these people.

474
00:26:14,760 --> 00:26:18,719
Speaker 2: Well, I think, you know, I'm constantly inspired and of

475
00:26:18,760 --> 00:26:22,040
Speaker 2: course just like, well what have I done? You know,

476
00:26:22,640 --> 00:26:27,000
Speaker 2: It's like, you know, these people are like amazing brilliant minds,

477
00:26:27,040 --> 00:26:30,080
Speaker 2: and I'm always inspired and always like, Okay, I got

478
00:26:30,080 --> 00:26:32,119
Speaker 2: to do my next thing bigger and better and greater,

479
00:26:32,200 --> 00:26:36,359
Speaker 2: and you know, continue to be an entrepreneur. And I

480
00:26:36,400 --> 00:26:40,440
Speaker 2: think what I what I find that's a thread through

481
00:26:40,480 --> 00:26:45,160
Speaker 2: all of it is this this fearlessness and this ability

482
00:26:45,200 --> 00:26:49,120
Speaker 2: to just take a leap and that and Wat especially

483
00:26:49,200 --> 00:26:51,240
Speaker 2: saying I've been broke five times, one war is not

484
00:26:51,280 --> 00:26:56,359
Speaker 2: going to matter, you know, that that sort of ultimate fearlessness.

485
00:26:56,600 --> 00:26:59,960
Speaker 2: And I guess the fact that he doesn't fear financial

486
00:27:00,080 --> 00:27:03,560
Speaker 2: collapse even with the studio. I'm sure he did, of

487
00:27:03,600 --> 00:27:07,280
Speaker 2: course he did, but to say that and somebody to

488
00:27:07,320 --> 00:27:10,320
Speaker 2: repeat it that, he wouldn't have said it if he

489
00:27:10,320 --> 00:27:13,679
Speaker 2: didn't mean it, right, And so I think that that

490
00:27:15,000 --> 00:27:18,679
Speaker 2: is amazing. And I think when people what inspires me,

491
00:27:19,240 --> 00:27:22,200
Speaker 2: I suppose is that the stories I've told her about

492
00:27:22,200 --> 00:27:26,080
Speaker 2: people that had a vision and they trusted their instincts

493
00:27:26,160 --> 00:27:29,440
Speaker 2: to follow that vision, and they also got amazing support

494
00:27:29,440 --> 00:27:34,479
Speaker 2: around them to make that vision happen. And that vision now,

495
00:27:34,520 --> 00:27:37,320
Speaker 2: whether it be you know, Pixar, or whether it be

496
00:27:37,480 --> 00:27:41,359
Speaker 2: you know, the theme parks or creating a restaurant. These things

497
00:27:41,400 --> 00:27:46,560
Speaker 2: are that I've told have lasted. And I'm always wondering

498
00:27:46,680 --> 00:27:49,600
Speaker 2: why something lasts one hundred years or one hundred and

499
00:27:49,640 --> 00:27:51,720
Speaker 2: twenty five years. What is the DNA in that? And

500
00:27:52,080 --> 00:27:54,359
Speaker 2: I did the Hearst documentary and that's one hundred and

501
00:27:54,400 --> 00:27:57,680
Speaker 2: twenty five years of Herst, you know, And it's it's

502
00:27:57,720 --> 00:28:01,200
Speaker 2: just amazing to me. What because there's so many businesses

503
00:28:01,240 --> 00:28:07,680
Speaker 2: that don't don't survive across the world. Some last one year,

504
00:28:07,760 --> 00:28:11,120
Speaker 2: some last fIF ten years, some last longer, but very

505
00:28:11,160 --> 00:28:13,760
Speaker 2: few last one hundred or longer. And when you really

506
00:28:13,800 --> 00:28:16,480
Speaker 2: distill it down, and so what is it? What is

507
00:28:16,720 --> 00:28:19,720
Speaker 2: what is the baton pass from leadership to leadership that

508
00:28:19,840 --> 00:28:21,800
Speaker 2: keeps it going? And what does that How does that

509
00:28:21,840 --> 00:28:27,320
Speaker 2: create ave DNA that origin story continue to grow and

510
00:28:27,440 --> 00:28:34,280
Speaker 2: shape and perpetuate basically, you know, years beyond the founder's death,

511
00:28:34,359 --> 00:28:37,320
Speaker 2: you know. So I find these stories very interesting.

512
00:28:47,000 --> 00:28:50,920
Speaker 1: I'm glad you mentioned things that have incredible longevity because

513
00:28:50,960 --> 00:28:54,440
Speaker 1: I wanted to ask you about something like this project

514
00:28:54,440 --> 00:28:58,120
Speaker 1: like Handcrafted is very much a historical documentary versus others

515
00:28:58,120 --> 00:29:00,840
Speaker 1: that you've done that are a little more contemporary. Do

516
00:29:00,920 --> 00:29:03,680
Speaker 1: you take a different approach when you're looking at historical

517
00:29:03,720 --> 00:29:06,479
Speaker 1: things or is it all just about the truth at

518
00:29:06,480 --> 00:29:09,280
Speaker 1: the end of the day for you, I think.

519
00:29:09,200 --> 00:29:14,320
Speaker 2: I'm trying with archival stuff. It's hard. They're both. They're

520
00:29:14,320 --> 00:29:20,800
Speaker 2: all hard, obviously documentaries, But because you're crafting a story,

521
00:29:20,880 --> 00:29:23,840
Speaker 2: sometimes people already know that story. So the key is

522
00:29:23,920 --> 00:29:26,480
Speaker 2: if if people know a story already, how do you

523
00:29:26,520 --> 00:29:28,480
Speaker 2: tell it differently and how do you bring in fresh

524
00:29:28,520 --> 00:29:31,240
Speaker 2: information and tell it from a fresh perspective. And so

525
00:29:31,360 --> 00:29:34,200
Speaker 2: that's a challenge. That's what I always try to do.

526
00:29:34,240 --> 00:29:36,480
Speaker 2: But if it's a subject like Zverite, like my film

527
00:29:36,560 --> 00:29:40,320
Speaker 2: Selling Lies or Recycled Life back in the day, those

528
00:29:40,360 --> 00:29:43,960
Speaker 2: are stories that have some story to them already. They've

529
00:29:44,000 --> 00:29:46,400
Speaker 2: been in the newspaper or stories have been done around

530
00:29:46,440 --> 00:29:50,640
Speaker 2: them or whatever a little bit. But now I want

531
00:29:50,680 --> 00:29:52,440
Speaker 2: to get in there and tell my own version of that.

532
00:29:52,520 --> 00:29:55,280
Speaker 2: I want to get in and really understand what is

533
00:29:55,320 --> 00:29:58,000
Speaker 2: going on and how is it affecting. And I would

534
00:29:58,040 --> 00:30:02,840
Speaker 2: say that Recycled Life, which was my first short film

535
00:30:02,960 --> 00:30:06,120
Speaker 2: that you know It was also Oscar nominated back in

536
00:30:06,200 --> 00:30:10,080
Speaker 2: nineteen ninety seven, was it It was a while ago

537
00:30:10,600 --> 00:30:14,360
Speaker 2: or two thousand and seven. Sorry. The thing about Recycling

538
00:30:14,400 --> 00:30:19,520
Speaker 2: Life was that it was unfolding before my eyes, and

539
00:30:19,560 --> 00:30:21,600
Speaker 2: this is about people living in the largest landfill in

540
00:30:21,600 --> 00:30:25,640
Speaker 2: Central America and who had families born and raised in

541
00:30:25,680 --> 00:30:29,000
Speaker 2: the garbage dump for sixty years, right, And so to me,

542
00:30:29,480 --> 00:30:32,960
Speaker 2: this was a very very hard and difficult film to

543
00:30:33,320 --> 00:30:37,040
Speaker 2: produce and direct and shoot myself. But it was happening.

544
00:30:37,160 --> 00:30:39,880
Speaker 2: Things were happening around you, and you just had to

545
00:30:39,920 --> 00:30:42,720
Speaker 2: find the story. And it takes a while to find

546
00:30:42,760 --> 00:30:45,920
Speaker 2: your characters and follow them and you know, get get

547
00:30:45,920 --> 00:30:48,160
Speaker 2: to know them, and then what are their goals and

548
00:30:48,200 --> 00:30:50,760
Speaker 2: what are their troubles, and then who's making me who?

549
00:30:50,800 --> 00:30:53,280
Speaker 2: And so that was a that was a really great

550
00:30:53,560 --> 00:30:59,040
Speaker 2: lesson for me to take an unfolding story, film it

551
00:30:59,120 --> 00:31:04,680
Speaker 2: in every way I could think of, and then have probably, oh,

552
00:31:04,720 --> 00:31:07,600
Speaker 2: I don't know how many hours to edit that together,

553
00:31:07,880 --> 00:31:12,200
Speaker 2: you know. And I think what happens in the making

554
00:31:12,200 --> 00:31:14,280
Speaker 2: of documentaries as well, is that you start to get

555
00:31:14,320 --> 00:31:17,720
Speaker 2: after a certain point, very comfortable with the footage and

556
00:31:17,840 --> 00:31:21,280
Speaker 2: very comfortable with the subject and sometimes that's not good,

557
00:31:21,640 --> 00:31:25,160
Speaker 2: meaning you kind of take for granted that you're looking

558
00:31:25,200 --> 00:31:29,120
Speaker 2: at something that's so weird and so amazing or so compelling.

559
00:31:29,160 --> 00:31:30,880
Speaker 2: You just kind of go, yeah, I'm in a garbage

560
00:31:30,960 --> 00:31:34,320
Speaker 2: jump again, and I'm just shooting stuff. But when I

561
00:31:34,400 --> 00:31:36,840
Speaker 2: come back and I edit something together and people watch it,

562
00:31:36,920 --> 00:31:40,160
Speaker 2: have never experienced that they're blown away, right, and so,

563
00:31:40,480 --> 00:31:43,200
Speaker 2: and I think that's in a way a good thing

564
00:31:43,240 --> 00:31:46,200
Speaker 2: and a bad thing, meaning you can get too comfortable

565
00:31:46,200 --> 00:31:49,040
Speaker 2: with your own stuff after a while when you're in it.

566
00:31:49,400 --> 00:31:54,320
Speaker 2: But then it's also good to also remind yourself that

567
00:31:54,680 --> 00:31:58,960
Speaker 2: this is actually really special and trust that, trust that

568
00:31:59,520 --> 00:32:03,680
Speaker 2: people will enjoy watching it in one way or another, hopefully.

569
00:32:04,360 --> 00:32:08,720
Speaker 1: Yes, knowing that your audience for a film like Handcrafted

570
00:32:09,040 --> 00:32:11,720
Speaker 1: is going to be a mix of people who are

571
00:32:11,720 --> 00:32:14,120
Speaker 1: those hardcore folks that already know a lot about Disney

572
00:32:14,160 --> 00:32:17,600
Speaker 1: history and people who are learning it for the first time.

573
00:32:18,160 --> 00:32:21,040
Speaker 1: I wonder, when you're making this film, or even just

574
00:32:21,080 --> 00:32:23,800
Speaker 1: when you're thinking about it after it's completed, what is

575
00:32:23,840 --> 00:32:26,200
Speaker 1: the one thing that you hope that people take away

576
00:32:26,520 --> 00:32:27,400
Speaker 1: from watching it.

577
00:32:28,120 --> 00:32:33,320
Speaker 2: Well, I think, to me, it's a renewed appreciation for

578
00:32:33,400 --> 00:32:37,040
Speaker 2: Walt Disney and for Disneyland, and that it was not

579
00:32:38,120 --> 00:32:41,600
Speaker 2: inevitable like it was just this was something. This was

580
00:32:41,640 --> 00:32:46,640
Speaker 2: something that was willed into existence by sheer determination and

581
00:32:46,800 --> 00:32:52,880
Speaker 2: share die Hard just giving everything he had to this,

582
00:32:53,200 --> 00:32:57,360
Speaker 2: his financial resources, his physical ability to get it done

583
00:32:57,400 --> 00:33:01,760
Speaker 2: in Marshall, hundreds of people to rally behind this incredible

584
00:33:01,800 --> 00:33:04,760
Speaker 2: dream that a lot of people were like, this is nuts.

585
00:33:04,800 --> 00:33:08,880
Speaker 2: And so I think I think that sheer leadership and

586
00:33:09,800 --> 00:33:14,480
Speaker 2: drive is what I hope will inspire people, you know,

587
00:33:14,560 --> 00:33:16,680
Speaker 2: the most and say, you know what, if he could

588
00:33:16,720 --> 00:33:19,520
Speaker 2: do that, I can do this, Like what am I doing?

589
00:33:19,720 --> 00:33:19,920
Speaker 1: You know?

590
00:33:19,960 --> 00:33:22,560
Speaker 2: And I think that's that's kind of the takeaway. I

591
00:33:22,560 --> 00:33:24,680
Speaker 2: was joking about it before. It's like, well, what are

592
00:33:24,720 --> 00:33:27,680
Speaker 2: we all doing? When are we living up to our

593
00:33:27,720 --> 00:33:31,000
Speaker 2: full potential? When you see something like that at being achieved,

594
00:33:31,320 --> 00:33:35,840
Speaker 2: you know. And and what's inspiring to me is that

595
00:33:35,840 --> 00:33:38,440
Speaker 2: that was the DNA that has inspired all these parks

596
00:33:38,480 --> 00:33:41,000
Speaker 2: around the world. And when I travel with these parks

597
00:33:41,120 --> 00:33:44,000
Speaker 2: and I see people in China, people in Paris, and

598
00:33:44,400 --> 00:33:47,200
Speaker 2: you know, people in Hong Kong, and and you know,

599
00:33:47,240 --> 00:33:51,080
Speaker 2: at some point in the future, Abu Dhabi like there's

600
00:33:51,120 --> 00:33:54,400
Speaker 2: people all over the world that have a great time

601
00:33:54,480 --> 00:33:57,880
Speaker 2: at these parks, and they pilgrimage to these parks generation

602
00:33:57,960 --> 00:34:01,800
Speaker 2: after generation, and that's very very rare. Yeah, you know,

603
00:34:01,920 --> 00:34:05,800
Speaker 2: I mean maybe maybe in religious shrines and things like

604
00:34:05,800 --> 00:34:09,799
Speaker 2: that you have pilgrimages, but this is like an entertainment pilgrimage.

605
00:34:10,320 --> 00:34:13,200
Speaker 2: And the fact that people do this and have this

606
00:34:13,320 --> 00:34:15,920
Speaker 2: excitement to bring their young kid at a certain point

607
00:34:16,320 --> 00:34:18,920
Speaker 2: to experience Dizeyland for the first time, that's a gift

608
00:34:18,920 --> 00:34:22,880
Speaker 2: that Walt gave to humanity, and that to me, is

609
00:34:23,040 --> 00:34:25,880
Speaker 2: very very inspiring, and so I just hope that people

610
00:34:25,880 --> 00:34:29,200
Speaker 2: come away with that that renewed appreciation of that anything

611
00:34:29,239 --> 00:34:29,840
Speaker 2: is possible.

612
00:34:32,000 --> 00:34:33,560
Speaker 1: It did make me feel that way and maybe want

613
00:34:33,600 --> 00:34:35,200
Speaker 1: to delete all of the apps off my phone that

614
00:34:35,239 --> 00:34:40,879
Speaker 1: are not doing anything but killing my time. Leslie, thank

615
00:34:40,920 --> 00:34:43,880
Speaker 1: you so much for this. I so appreciate you spending

616
00:34:43,880 --> 00:34:44,840
Speaker 1: this time with me today.

617
00:34:44,960 --> 00:34:45,520
Speaker 2: Well, thank you.

618
00:34:46,640 --> 00:34:48,680
Speaker 1: I cannot wait to see what you do next, because

619
00:34:48,719 --> 00:34:50,960
Speaker 1: I will be watching it as soon as I possibly can,

620
00:34:51,000 --> 00:34:52,560
Speaker 1: because I've loved your work for a long time.

621
00:34:52,800 --> 00:34:53,200
Speaker 2: Thanks.

622
00:34:53,920 --> 00:34:56,279
Speaker 1: Is there anything else you would want people to know

623
00:34:56,400 --> 00:34:59,960
Speaker 1: before I free you from this conversation?

624
00:35:01,719 --> 00:35:03,440
Speaker 2: I mean, I you know, I don't think so. I

625
00:35:03,719 --> 00:35:08,120
Speaker 2: appreciate so much your your interest in this subject and

626
00:35:08,320 --> 00:35:11,960
Speaker 2: just having watched the other projects and understanding the thread

627
00:35:12,000 --> 00:35:17,160
Speaker 2: of my filmmaking interest in style, and it's just it's

628
00:35:17,200 --> 00:35:19,400
Speaker 2: just a blast to be able to tell stories like this,

629
00:35:19,520 --> 00:35:23,440
Speaker 2: and to work with Disney is obviously a gift to

630
00:35:23,480 --> 00:35:27,640
Speaker 2: me as well with my family history. So it's it's fun.

631
00:35:27,840 --> 00:35:31,000
Speaker 2: I like, I like the variation between Disney and real

632
00:35:31,040 --> 00:35:35,960
Speaker 2: life and all sorts of different subjects, so it's fun.

633
00:35:36,280 --> 00:35:39,200
Speaker 1: I love it. Thank you again so much, Thank you

634
00:35:39,920 --> 00:35:45,280
Speaker 1: appreciate it again. I want to absolutely share my deepest

635
00:35:45,320 --> 00:35:48,920
Speaker 1: thanks to Leslie for sharing her thoughts on filmmaking and

636
00:35:49,080 --> 00:35:51,799
Speaker 1: history and the intersection of the two. I also want

637
00:35:51,840 --> 00:35:53,879
Speaker 1: to make sure I shout out her entire team who

638
00:35:53,880 --> 00:35:56,319
Speaker 1: worked really really hard to get this schedule nailed down.

639
00:35:57,000 --> 00:36:01,360
Speaker 1: Disneyland Handcrafted is available now on YouTube and Disney Plus.

640
00:36:01,880 --> 00:36:04,760
Speaker 1: I also have a bit of listener mail for this one. Okay,

641
00:36:05,520 --> 00:36:11,440
Speaker 1: this is from our listener, Pamela and I love it

642
00:36:11,719 --> 00:36:14,400
Speaker 1: for a number of reasons which will become immediately apparent.

643
00:36:16,000 --> 00:36:18,680
Speaker 1: Pamela Rides Dear Holly and Tracy, First, thank you for

644
00:36:18,719 --> 00:36:22,600
Speaker 1: the work you both do to share educational and entertaining podcasts.

645
00:36:22,880 --> 00:36:25,000
Speaker 1: Yours is the show I have listened to the longest,

646
00:36:25,080 --> 00:36:27,520
Speaker 1: as I'm sure is the case for many listeners. I

647
00:36:27,560 --> 00:36:30,960
Speaker 1: often find a connection between your podcast and something in

648
00:36:31,000 --> 00:36:34,160
Speaker 1: my daily life. It's always a great reminder that we

649
00:36:34,239 --> 00:36:37,280
Speaker 1: are small part of a larger picture that existed before

650
00:36:37,320 --> 00:36:41,200
Speaker 1: we were born and will continue after we are gone. Second,

651
00:36:41,320 --> 00:36:43,719
Speaker 1: my husband and I recently tried a new to US

652
00:36:43,800 --> 00:36:46,319
Speaker 1: restaurant and the drinksmen, you made me chuckle and think

653
00:36:46,360 --> 00:36:50,440
Speaker 1: of you both when I saw orange cat behavior. This

654
00:36:50,480 --> 00:36:52,799
Speaker 1: is the name of a drink and it's spectacular. I

655
00:36:52,840 --> 00:36:55,520
Speaker 1: may try it next time. I went with moon Song

656
00:36:55,600 --> 00:36:57,960
Speaker 1: for the rosemary in it, since the smash burger I

657
00:36:58,080 --> 00:37:02,160
Speaker 1: ordered featured a seasoning blend with rosemary attached. For pet

658
00:37:02,160 --> 00:37:04,399
Speaker 1: tax is a picture of Dixie, our three year old

659
00:37:04,400 --> 00:37:08,280
Speaker 1: border Collie Pity Mixed Rescue and the sidewalk chalk portrait

660
00:37:08,400 --> 00:37:11,520
Speaker 1: made by my eight year old son. Okay, Dixie is

661
00:37:11,600 --> 00:37:14,000
Speaker 1: so cute and Dixie is curled up with a bunch

662
00:37:14,000 --> 00:37:16,919
Speaker 1: of bluey toys, So this is like a multi hit

663
00:37:17,040 --> 00:37:22,160
Speaker 1: dopamine situation for me. Yeah, and I had a dog

664
00:37:22,239 --> 00:37:26,680
Speaker 1: named Dixie growing up, so this is the sweetest sweetest,

665
00:37:27,040 --> 00:37:29,200
Speaker 1: don't think that I don't notice that there is one

666
00:37:29,200 --> 00:37:32,040
Speaker 1: bluey and two Bingos in that picture, which is correct

667
00:37:32,080 --> 00:37:36,480
Speaker 1: because Bingo is my my preferred character. This cocktail sounds amazing.

668
00:37:36,760 --> 00:37:42,280
Speaker 1: Orange cat behavior is red wine, orange juice, ginger beer,

669
00:37:42,560 --> 00:37:46,040
Speaker 1: and then delish. I know this sounds wild, but I

670
00:37:46,080 --> 00:37:49,319
Speaker 1: bet it's really yummy. Again, it's like Cali mocho. Right.

671
00:37:49,680 --> 00:37:52,759
Speaker 1: I went through a process as he read off the ingredients.

672
00:37:54,000 --> 00:37:56,920
Speaker 1: I was like, red wine, cool, and then oh, intriguing,

673
00:37:57,040 --> 00:37:59,960
Speaker 1: and then Okay, that sounds like it might be really good. Yeah,

674
00:38:00,200 --> 00:38:02,360
Speaker 1: I think I think that could actually work, because I

675
00:38:02,719 --> 00:38:04,960
Speaker 1: did the same process when I first read this email,

676
00:38:05,040 --> 00:38:08,000
Speaker 1: and I was like, I don't oh no, it's probably

677
00:38:08,040 --> 00:38:12,319
Speaker 1: a lot like Calimocho or tinted di Verano, which we

678
00:38:12,360 --> 00:38:16,000
Speaker 1: talked about before, those being drinks that we had in

679
00:38:16,040 --> 00:38:19,200
Speaker 1: Spain that mix wine and a soda of some sort

680
00:38:19,280 --> 00:38:23,520
Speaker 1: or lemonade. Right, very delicious, sounds good. This entire cocktail

681
00:38:23,600 --> 00:38:28,000
Speaker 1: menu is so fascinating to me and so creative that

682
00:38:28,200 --> 00:38:31,680
Speaker 1: I'm like, do I need to go to this? Do

683
00:38:31,800 --> 00:38:34,000
Speaker 1: I need to literally book a flight to go visit

684
00:38:34,040 --> 00:38:37,279
Speaker 1: this thing? And then the chalk drawing is so cute

685
00:38:37,360 --> 00:38:42,560
Speaker 1: because it is a picture of Dixie in chalk by

686
00:38:42,600 --> 00:38:46,360
Speaker 1: their little and it's so sweet. I love it so much. Pamela,

687
00:38:46,440 --> 00:38:48,520
Speaker 1: thank you for sharing this with me. I do love

688
00:38:48,560 --> 00:38:52,080
Speaker 1: the idea that an orange cat behavior is a drink

689
00:38:52,120 --> 00:38:55,040
Speaker 1: that seems like a variety of disparate ingredients that make

690
00:38:55,120 --> 00:38:58,040
Speaker 1: something pretty terrific, because that does sum up the way

691
00:38:58,120 --> 00:39:02,600
Speaker 1: orange cats behave pretty beautiful. If you would like to

692
00:39:02,680 --> 00:39:06,479
Speaker 1: write to us and share any interesting cocktails you find

693
00:39:06,520 --> 00:39:12,320
Speaker 1: on menus, any pet pictures, any thoughts on episodes, any anything,

694
00:39:12,400 --> 00:39:16,799
Speaker 1: you can do that at History podcast at iHeartRadio dot com.

695
00:39:17,040 --> 00:39:19,319
Speaker 1: If you would like to see this show notes to

696
00:39:19,640 --> 00:39:22,719
Speaker 1: today's episode and any of our episodes, you can find

697
00:39:22,719 --> 00:39:26,719
Speaker 1: them on our website Missed Inhistory dot com. If you

698
00:39:26,800 --> 00:39:28,680
Speaker 1: have not yet subscribed to the show and you would

699
00:39:28,719 --> 00:39:31,080
Speaker 1: like to, that's the easiest thing in the world to do.

700
00:39:31,480 --> 00:39:34,480
Speaker 1: Is easier than sipping a delicious cocktail. You can do

701
00:39:34,520 --> 00:39:37,360
Speaker 1: that on the iHeartRadio app or anywhere you listen to

702
00:39:37,400 --> 00:39:45,320
Speaker 1: your favorite shows. Stuff you Missed in History Class is

703
00:39:45,360 --> 00:39:49,719
Speaker 1: a production of iHeartRadio. For more podcasts from iHeartRadio, visit

704
00:39:49,760 --> 00:39:53,200
Speaker 1: the iHeartRadio app, Apple Podcasts, or wherever you listen to

705
00:39:53,239 --> 00:39:54,080
Speaker 1: your favorite shows