WEBVTT - Some Time With... Larry Blumenthal! (Part 1) 0:00:18.200 --> 0:00:21.799 Hey, there're Fana Ritos. Welcome back to how Rude Tana Ritos. 0:00:22.120 --> 0:00:24.400 We've talked a lot about how we were a family 0:00:24.520 --> 0:00:27.080 on Full House, but we aren't just referring to our 0:00:27.120 --> 0:00:31.680 cast members. Our family also includes our wonderful, hard working crew. 0:00:32.400 --> 0:00:34.720 Our guest today was an integral part of our crew 0:00:34.840 --> 0:00:39.120 on both Full House and Fuller House. Larry Blumenthal was 0:00:39.159 --> 0:00:42.200 one of our camera operators, and a very talented one 0:00:42.240 --> 0:00:45.720 at that. He is also an incredible composer and director 0:00:45.760 --> 0:00:48.760 of photography. He has known Jody and me since we 0:00:48.760 --> 0:00:51.280 were little kids just trying to hit our marks on 0:00:51.320 --> 0:00:54.160 the stage, and today we are so lucky to get 0:00:54.160 --> 0:00:56.200 to sit down and talk with him about his career, 0:00:56.600 --> 0:00:59.320 his memories from Stage twenty four, and so much more. 0:01:00.200 --> 0:01:05.240 Welcome Larry, It's so good to see you. Andrea. Oh 0:01:05.280 --> 0:01:06.480 my god, you're beautiful. 0:01:07.240 --> 0:01:08.479 I know I am so. 0:01:13.240 --> 0:01:16.080 I have to say, Larry, I saw him. Gosh, when 0:01:16.200 --> 0:01:19.480 was it now earlier or late? Was it late last 0:01:19.520 --> 0:01:21.920 year or early this year? Time has gone by so holy? 0:01:22.959 --> 0:01:23.120 I know. 0:01:23.280 --> 0:01:28.280 Hi. Larry drove all the way from New Mexico I 0:01:28.360 --> 0:01:32.360 did to come and see one of his best friends, Susan, 0:01:32.480 --> 0:01:34.840 who wrote a play that and I'm working with her 0:01:34.920 --> 0:01:41.160 on producing it. But Larry drove to see us do 0:01:41.360 --> 0:01:43.319 a reading of it in OHI drove all the way 0:01:43.360 --> 0:01:46.880 out and it was absolutely wonderful. And yeah, so it was. 0:01:47.160 --> 0:01:47.680 It was great. 0:01:47.760 --> 0:01:50.800 You were absolutely one. Oh my god, thank You're not 0:01:50.920 --> 0:01:52.680 used to seeing you in a more dramatic role, so 0:01:52.720 --> 0:01:53.120 to speak. 0:01:54.000 --> 0:01:58.920 Thank you. It was just yeah. I mean to have 0:01:59.040 --> 0:02:01.840 people you know that we've known for this long. I mean, 0:02:01.960 --> 0:02:05.240 that's the recurring theme I think of every guest that 0:02:05.280 --> 0:02:07.840 has come on the show is how much they absolutely 0:02:08.080 --> 0:02:12.880 loved working on full and Fuller House and what a 0:02:12.960 --> 0:02:14.960 completely unique experience it was. 0:02:16.760 --> 0:02:19.799 And I to take over the show for any reason whatsoever. 0:02:19.880 --> 0:02:25.680 But a little tidbit, just so you know, before Fuller 0:02:25.680 --> 0:02:29.280 House started, years before, back when John and you guys 0:02:29.360 --> 0:02:33.120 everybody was trying to get revived, I was in touch, 0:02:34.080 --> 0:02:36.280 not daily, but damn near daily. It must have felt 0:02:36.320 --> 0:02:41.440 like it for Bob. And I'm talking about Bob ahead. Yeah, 0:02:41.520 --> 0:02:44.720 And I said, Bob, if that show ever happened, I 0:02:44.760 --> 0:02:47.760 don't care what I'm doing, call me, let me know. 0:02:47.880 --> 0:02:49.880 I want to be on it. And I don't care 0:02:49.880 --> 0:02:52.440 if I'm doing a film in Borneo or somewhere. I said, 0:02:52.480 --> 0:02:56.079 I will, I will come running. And sure enough, when 0:02:56.080 --> 0:02:59.560 the first season happened, he called me up at home 0:02:59.639 --> 0:03:01.280 and he's said, Larry, I want to tell you it's 0:03:01.280 --> 0:03:04.880 a go. It's happening, and we haven't we haven't even 0:03:05.200 --> 0:03:08.120 hired a producer yet, so you'll get a call. And 0:03:08.400 --> 0:03:10.720 the funny call was I think the first producer first 0:03:10.760 --> 0:03:12.160 season was Steve Sandel. 0:03:12.600 --> 0:03:12.799 Yeah. 0:03:12.840 --> 0:03:16.400 Yeah, he calls me because boy, you know some people, 0:03:16.400 --> 0:03:21.120 don't you, And I said, I said why? He said, well, 0:03:21.320 --> 0:03:25.520 I've been hired to work on Fuller House. And the 0:03:25.600 --> 0:03:28.040 first call I was to make was to you, You're 0:03:28.040 --> 0:03:32.360 already hired, so and I said, okay, perfect, under what 0:03:32.480 --> 0:03:35.520 guys is well, Greg is still available? Said well, that's 0:03:35.560 --> 0:03:38.200 fine because it could have been either way, right as 0:03:38.760 --> 0:03:40.880 or cameraman. I didn't care. I told Bob, I just 0:03:40.880 --> 0:03:44.680 don't care. And Greg is so good at what he does, 0:03:44.720 --> 0:03:45.360 Oh my gosh. 0:03:45.400 --> 0:03:48.720 Greg Heshaw, who was our DP on Fuller House, who 0:03:48.760 --> 0:03:52.040 is also an incredibly lovely human and a dear, dear friend. 0:03:52.200 --> 0:03:55.360 Beautiful friend, old friend of mine. I've known Greg for 0:03:55.400 --> 0:03:56.280 almost fifty years. 0:03:56.320 --> 0:03:56.520 Wow. 0:03:56.560 --> 0:03:59.360 And I started in the business with him. Really and 0:04:00.120 --> 0:04:02.000 make the story short, which it is not. 0:04:02.160 --> 0:04:05.280 Now this is that's what the body is your episode. Yeah, 0:04:05.280 --> 0:04:06.360 this is your moment. 0:04:06.160 --> 0:04:08.200 Larry, this is your spotlight. 0:04:08.240 --> 0:04:09.640 Yes, this is it. 0:04:11.000 --> 0:04:17.520 I'm gonna make me cry. No, But seriously, the beautiful 0:04:17.520 --> 0:04:19.800 thing was that I knew I was getting toward the 0:04:19.839 --> 0:04:22.920 end of my cycle. I retired one year after we finished. 0:04:23.600 --> 0:04:25.599 I did one season of out Matched and then that 0:04:25.720 --> 0:04:29.040 was it. COVID came. I said, okay, I'm done, so 0:04:29.640 --> 0:04:32.719 but my whole thought and I even talked to Kelly Sanderfer, 0:04:32.800 --> 0:04:36.520 who was a producer on the show as well, and 0:04:36.560 --> 0:04:39.960 I said, what do you think, Kelly, after this is done, 0:04:40.040 --> 0:04:42.240 it's whatever it's going to do. I said, I don't 0:04:42.240 --> 0:04:46.039 care if it does ten years, I'm on. But he said, 0:04:46.040 --> 0:04:48.600 would you really go that long? And I said yes, absolutely, 0:04:49.760 --> 0:04:51.520 And he said, but you know, maybe if we get lucky, 0:04:51.640 --> 0:04:54.800 we get five, and then if we do, then then 0:04:54.880 --> 0:04:57.880 I'll be I'll be a happy camper. I've really it 0:04:57.920 --> 0:05:00.159 would be the perfect way to close out my are 0:05:00.200 --> 0:05:05.960 called film shooting, you know, cinematography career, because I do 0:05:06.000 --> 0:05:08.800 a lot of other things. But it was like going 0:05:08.880 --> 0:05:13.719 home those last five years and being with especially you 0:05:13.880 --> 0:05:17.320 gals you don't even know, and of course Bob God 0:05:17.320 --> 0:05:21.359 Blessing and Evan you know your friend Bump Sag. It 0:05:22.200 --> 0:05:24.320 just all of that, you know. I just, uh, it 0:05:24.400 --> 0:05:29.119 was you couldn't write a book, better finish out something, 0:05:29.320 --> 0:05:31.600 you know, so thank you. When I got the call 0:05:31.760 --> 0:05:34.880 and you guys suggested I show up, I said, I 0:05:34.880 --> 0:05:36.440 know I'm going to do is sit here and work 0:05:36.720 --> 0:05:40.159 bragg and praise about the show because it was its 0:05:40.240 --> 0:05:44.640 family it always has been. And uh, and all the 0:05:44.720 --> 0:05:48.960 crew people that would come on occasional as occasional replacements 0:05:49.000 --> 0:05:52.160 and so forth, most of them, not all of themause, 0:05:52.160 --> 0:05:56.279 some people are just you know, whatever they are, but 0:05:56.480 --> 0:05:58.760 most of them. How do I get on the show permanently? 0:05:58.839 --> 0:05:59.600 I said, good luck? 0:06:00.760 --> 0:06:04.240 Yeah, there really really was. And it's I'm always so 0:06:04.400 --> 0:06:08.039 honored that we have not only the legacy like with 0:06:08.080 --> 0:06:11.200 our fans, but the legacy with our crew and with 0:06:11.320 --> 0:06:14.599 people in this business who have seen the ins and 0:06:14.640 --> 0:06:17.200 outs and what, you know, what this business can be. 0:06:17.240 --> 0:06:19.599 And sometimes it's a grind, and sometimes it's not very fun. 0:06:19.640 --> 0:06:22.200 And sometimes the people you work with aren't aren't family. 0:06:22.279 --> 0:06:24.400 And that's you have a job and you're like Okay, cool, 0:06:24.440 --> 0:06:26.920 I go. I love like what I do, but it's 0:06:26.960 --> 0:06:30.279 not that. And and the hours, the hours of the grind. 0:06:30.520 --> 0:06:34.040 People don't realize that we're we're always hurrying up and waiting. 0:06:33.920 --> 0:06:37.679 And right right, the least glamorous. 0:06:37.040 --> 0:06:38.320 Time, a hurry for everything. 0:06:38.520 --> 0:06:41.960 Yes, right, we have to go now. An hour and 0:06:42.000 --> 0:06:44.720 a half later, well, we needed to fix something right now, 0:06:44.760 --> 0:06:45.400 a light went out. 0:06:45.600 --> 0:06:48.279 Boy, when we're when we're live, when we're we're running, 0:06:48.320 --> 0:06:51.960 and you guys are on, and you are on, and 0:06:51.960 --> 0:06:55.039 and the and and as as the funnel, I always 0:06:55.040 --> 0:06:59.000 thought to myself as the channel or channel or channeling 0:06:59.040 --> 0:07:01.920 the energy, you know, through that lens and it's going 0:07:02.000 --> 0:07:04.040 to go out to all those millions of people. And 0:07:04.080 --> 0:07:07.000 what a great honor that that is to think about 0:07:07.000 --> 0:07:10.240 that and anticipate. And I was always considered a pretty 0:07:10.240 --> 0:07:12.680 good camera operator as well as other things. One of 0:07:12.680 --> 0:07:16.520 the best. Yeah, and so how how you know, Josuick 0:07:17.000 --> 0:07:19.640 wrote about me in his book, you know, so that 0:07:19.800 --> 0:07:22.960 was honored for that, and I just my thought was 0:07:23.000 --> 0:07:29.080 that it's it's not about doing the work, it's anticipating 0:07:29.160 --> 0:07:32.360 and being part of what you were all doing. So 0:07:32.480 --> 0:07:38.000 aware of every little nuance of your facial you know, 0:07:38.200 --> 0:07:40.920 just there's little motions and first Jody I knew like 0:07:40.960 --> 0:07:43.080 the back of my hand. She was four and a half. 0:07:43.920 --> 0:07:47.960 So yeah, so you know, and and it just it's 0:07:48.000 --> 0:07:51.240 an amazing thing when you you finally become part of 0:07:51.240 --> 0:07:55.040 that ballet. It's for me, it's all music anyway. Yeah, 0:07:55.440 --> 0:07:56.800 usual are all as well. 0:07:58.080 --> 0:08:02.240 What a beautiful way to look at camera. You know, 0:08:02.320 --> 0:08:05.960 camera department and camera operators as being the funnel of 0:08:06.000 --> 0:08:10.080 that energy. And it's true, like you know, you as 0:08:10.120 --> 0:08:13.280 a camera operator, you have to know not only just 0:08:13.320 --> 0:08:15.040 what shots you need two shots or this or that, 0:08:15.200 --> 0:08:18.880 but like it's it is about capturing you know, who's 0:08:18.920 --> 0:08:21.920 gonna like being on someone's face when you know they're 0:08:21.920 --> 0:08:23.960 going to have a good reaction, or including them in 0:08:24.000 --> 0:08:25.920 a shot when you know it's gonna be worth it 0:08:25.960 --> 0:08:28.480 for their little you know, one little moment in a 0:08:29.280 --> 0:08:32.520 just that capturing of energy and like funneling it out 0:08:32.520 --> 0:08:34.920 to people. What I've never thought of it that way, 0:08:35.000 --> 0:08:37.040 And that's I love that, Jadie. 0:08:37.160 --> 0:08:39.680 That's really good what you just brought up. And I 0:08:39.720 --> 0:08:43.400 had a young camera operator that I was teaching things too, 0:08:43.679 --> 0:08:46.400 and they were met I was mentoring and I sat 0:08:46.440 --> 0:08:48.960 down and I said, look, here's the real the real job. 0:08:49.880 --> 0:08:51.880 It's not what you're seeing in the picture. It's not 0:08:52.000 --> 0:08:55.480 what's in the frame. It's something else. And that's something 0:08:55.480 --> 0:08:58.960 else that goes like this. Your girlfriend comes into the 0:08:59.040 --> 0:09:02.640 room and she sits down next to you, and she goes, 0:09:02.920 --> 0:09:06.600 I need to talk to you. What are you gonna do. 0:09:07.880 --> 0:09:10.680 You're gonna look out here, You're gonna think what. She's 0:09:10.720 --> 0:09:15.960 gonna say, what's up? What's hitting? What you know? You're 0:09:16.040 --> 0:09:19.240 gonna give her one hundred percent attention. Right then that's 0:09:19.360 --> 0:09:22.640 the job because when you start and you say action 0:09:22.800 --> 0:09:26.000 and you guys are about to do your thing, it's 0:09:26.160 --> 0:09:28.960 in my mind it's like that switch goes on and 0:09:28.960 --> 0:09:32.640 it's like the equipment isn't there anymore. I'm reaching it and 0:09:32.679 --> 0:09:36.040 I'm holding left hand, right hand to whatever the extremities 0:09:36.040 --> 0:09:38.280 of the frame ak and it's like a big hug, 0:09:38.679 --> 0:09:41.920 and I'm listening for everything. And that's exactly what I 0:09:41.960 --> 0:09:43.360 was always doing trying to do. 0:09:51.880 --> 0:09:54.240 I love the way you describe this like this is 0:09:54.320 --> 0:09:57.480 just so beautiful, The way you describe it so vividly 0:09:58.120 --> 0:10:01.640 and so sensory, like this is you're not just operating machinery. 0:10:01.840 --> 0:10:04.120 It is a very sensory experience. 0:10:04.360 --> 0:10:07.920 I love this well completely. The equipment's just the the 0:10:07.960 --> 0:10:13.800 garbage that we've somehow invented to allow us to to 0:10:13.920 --> 0:10:20.200 take off of the Golden Globe stage you know, upstage, 0:10:20.240 --> 0:10:24.400 downstage left, right, whatever, and and channel and put that 0:10:24.520 --> 0:10:27.839 out to millions of people later. Yeah, and now it's 0:10:27.880 --> 0:10:29.760 a beautiful thing. I mean, I go on Netflix and 0:10:29.800 --> 0:10:32.920 I see what we did those last five years, and oh, 0:10:33.200 --> 0:10:36.040 it's so beautiful and it's so clear. It's like, are 0:10:36.080 --> 0:10:38.480 right there. Yeah, And I have a hard time watching 0:10:38.559 --> 0:10:41.760 because you know, there's a lot of memories and we 0:10:41.880 --> 0:10:45.040 lost people. Yeah, you know, and there's some people that 0:10:45.080 --> 0:10:47.520 I love very much and I'll never see them again. Yeah, 0:10:48.480 --> 0:10:51.600 you know, it's just hard hard for me to watch it. Yeah, 0:10:51.800 --> 0:10:56.640 but yeah, you have to look at it. So did 0:10:56.679 --> 0:10:57.880 we do that? Wow? 0:10:59.000 --> 0:11:02.240 We really did? And we And it's funny you mentioned 0:11:02.240 --> 0:11:04.959 the belt. You said, you know that we're all sort 0:11:05.000 --> 0:11:06.959 of a part of the ballet, And all of a sudden, 0:11:07.200 --> 0:11:11.560 what came to my mind was Andrea in the rat 0:11:11.640 --> 0:11:16.680 costume in the Nutcracker episode the Nutcracker Ballet, and again, 0:11:17.000 --> 0:11:23.600 like the brilliant little in between moments that weren't lines, 0:11:23.679 --> 0:11:27.480 that weren't you know, it was just it was your face, 0:11:27.600 --> 0:11:29.760 it was your you know, and like, oh my god, 0:11:29.800 --> 0:11:32.760 the brilliant, brilliant moments that were captured of that. It was, 0:11:32.960 --> 0:11:38.840 you know, so ridiculous but so funny and and yeah, 0:11:38.880 --> 0:11:42.200 like that ballet of that we're all you know. And again, 0:11:42.240 --> 0:11:45.400 that's what I love about this business is watching every 0:11:45.480 --> 0:11:50.520 department hume along in its little groove and create this 0:11:50.640 --> 0:11:54.200 thing that you see that you know, when you're watching, 0:11:54.240 --> 0:11:57.200 it looks effortless and like it just happened and someone 0:11:57.280 --> 0:11:59.200 and you're just getting a window into it, when you know, 0:11:59.240 --> 0:12:02.000 really it took two hundred and fifty people to pull 0:12:02.120 --> 0:12:02.760 one zene off. 0:12:03.920 --> 0:12:09.240 Seriously. Another thing that I especially loved about this particular cast, 0:12:09.520 --> 0:12:12.200 you know, especially you through gals, and of course the 0:12:12.240 --> 0:12:14.840 guys as well. You know, there were such veterans in 0:12:14.880 --> 0:12:22.280 all ways. But what really made living there so wonderful 0:12:22.320 --> 0:12:26.160 for those five years, I have to say, is the 0:12:25.840 --> 0:12:32.120 the whole process where everyone is doing their thing, like 0:12:32.160 --> 0:12:37.320 you said, all the different parts. But yet we've had 0:12:38.200 --> 0:12:40.720 really great directors and we had some that were really 0:12:40.840 --> 0:12:43.360 you know, it's good, you know, whatever you know, and 0:12:43.440 --> 0:12:46.080 you could feel the difference. You could feel the disjointedness 0:12:46.120 --> 0:12:51.080 when things aren't flowing. But it didn't matter once the 0:12:51.120 --> 0:12:55.600 actual show was on and the audience is there and 0:12:55.679 --> 0:12:59.800 we're rolling. You all made it seem like there was 0:12:59.840 --> 0:13:04.080 no director that you were the directors you were. You 0:13:04.160 --> 0:13:08.440 were like the symbiotic parts of a larger body that 0:13:08.520 --> 0:13:11.160 we had the beautiful opportunity to be a part of 0:13:11.280 --> 0:13:14.520 watching and listening to. Well, I'll never forget that, but 0:13:14.559 --> 0:13:18.000 there's always to me. Don't worry. I know this rehearsal sucking, 0:13:18.080 --> 0:13:22.560 you have this, This directors an idiot, because once once 0:13:22.600 --> 0:13:27.400 we get there, okay, it won't matter because you know 0:13:28.160 --> 0:13:31.319 the Candice and and Jodie and Andrew, they don't they 0:13:31.320 --> 0:13:33.800 don't care. They'll just don't. They're gonna do what they're 0:13:33.800 --> 0:13:36.400 gonna do anyway, right bottom line. 0:13:36.800 --> 0:13:39.440 And you know, well that's true. You know it was funny. 0:13:39.440 --> 0:13:42.920 I do remember so many times, even like blocking and stuff, 0:13:44.880 --> 0:13:47.040 where it was like, you know, rehearsal day, but we'd 0:13:47.120 --> 0:13:50.559 just come in and it was like we'd start sometimes 0:13:50.600 --> 0:13:51.719 doing the scene and I don't know, if it was 0:13:51.800 --> 0:13:53.600 rich that would kind of go I don't just see 0:13:53.600 --> 0:13:56.640 what you do. But Sender would do that sometimes too, 0:13:56.720 --> 0:13:59.040 unless there was something very specific. But it was so 0:13:59.200 --> 0:14:03.439 interesting to realize, like even as I was reading the 0:14:03.440 --> 0:14:05.800 script before we would even get on stage, like I 0:14:05.840 --> 0:14:08.120 saw exactly how the action was going to play, because 0:14:08.160 --> 0:14:10.400 it was like being in your own house, so you 0:14:10.520 --> 0:14:12.760 like knew, and you know, half the time we would 0:14:12.840 --> 0:14:15.720 be doing rehearsal and it was like we just sort 0:14:15.720 --> 0:14:17.840 of did whatever we did in the scene and then 0:14:17.840 --> 0:14:19.880 it was like, well, yeah, that works. Everyone got to 0:14:19.880 --> 0:14:21.640 where they needed to be and got to the prop 0:14:21.680 --> 0:14:23.440 that they needed to get to and crossed when they 0:14:23.440 --> 0:14:25.760 needed to do, and for the most part, it was 0:14:25.880 --> 0:14:28.520 we just sort of had that sense of it, like 0:14:28.560 --> 0:14:32.320 we knew when we should cross when we should you know, 0:14:32.880 --> 0:14:34.240 it's like a senate yet. 0:14:35.120 --> 0:14:38.560 Yeah, yeah, I really believe that great actors on a 0:14:38.600 --> 0:14:42.680 great working set that's a good one that is identifiable 0:14:42.720 --> 0:14:47.320 and well known to the public at large. This set 0:14:47.360 --> 0:14:51.600 itself has a muscle memory, Oh definitely. And then that 0:14:51.640 --> 0:14:55.480 works for the cameras too, you know. I mean, you know, okay, 0:14:56.360 --> 0:14:58.720 I don't know how many times in my particular case, 0:14:59.800 --> 0:15:04.360 the technical coordinator or the directory go you're already there. 0:15:05.320 --> 0:15:07.200 You know, Yeah, it's obvious. 0:15:07.240 --> 0:15:11.800 I saw, right, what do you got something new, something 0:15:11.800 --> 0:15:14.920 else gonna happen, right right. 0:15:15.240 --> 0:15:17.400 We were a well oiled machine. And I always felt 0:15:17.400 --> 0:15:19.720 bad for those directors that would cut, like the one 0:15:19.760 --> 0:15:21.240 off directors, because right. 0:15:21.160 --> 0:15:23.040 Right, because they'd come in and we were like like 0:15:23.120 --> 0:15:25.640 we were a family, you know, yeah, we're like we 0:15:26.160 --> 0:15:29.760 we are out of control, out of hand, and best 0:15:29.800 --> 0:15:32.640 of luck corralling us. And but but at the same time, like, 0:15:33.160 --> 0:15:35.200 don't worry, we'll get it done. Like it looks you 0:15:35.240 --> 0:15:37.560 we're all over the planet. Well, don't worry, we'll be fine. 0:15:37.640 --> 0:15:39.440 Come Friday night, It'll all the magic. 0:15:39.480 --> 0:15:44.280 I'm happy, Yeah, it will have Yeah. I where though 0:15:44.360 --> 0:15:47.800 every Friday night we would go out for intros and 0:15:47.880 --> 0:15:52.280 at that moment I would go, oh no, I don't 0:15:52.320 --> 0:15:55.320 know what I'm doing, like and it was every show, 0:15:56.080 --> 0:15:58.680 no matter what, I would just be like, it's gone. 0:15:59.440 --> 0:16:02.400 I don't know what happened. It was like like my 0:16:02.400 --> 0:16:05.480 brain would go totally blank. We'd be getting ready before 0:16:05.680 --> 0:16:07.840 Gwen would be there, we'd be running lines whatever, and 0:16:07.880 --> 0:16:12.320 then we would start and it was like, oh, oh no, 0:16:12.440 --> 0:16:14.480 there it is like and it just like clicked on 0:16:14.760 --> 0:16:17.360 and it would go and you're like, oh, oh, this 0:16:17.400 --> 0:16:20.520 is fine. But every show I felt like, no matter what, 0:16:20.680 --> 0:16:23.240 you have that moment where you're like, I can't do this. 0:16:24.000 --> 0:16:28.440 You who No, No, it's it's almost overwhelming. I mean 0:16:28.480 --> 0:16:31.360 it's the same thing. I mean I was, you know, 0:16:31.440 --> 0:16:34.720 I know this is not a good habit, but I 0:16:34.760 --> 0:16:38.560 was one of those people that never took notes. Oh 0:16:39.360 --> 0:16:43.800 people always take notes. And they'd go over and they'd 0:16:43.840 --> 0:16:46.120 look and there's nothing on my pad, and I go, 0:16:47.120 --> 0:16:50.640 I'm watching the rehearsal. I'm watching what they do. And 0:16:51.280 --> 0:16:55.000 if I'm not identically watching and aware of where they're going, 0:16:55.040 --> 0:16:58.560 and then we're not dancing. Yeah, right, we have to 0:16:58.640 --> 0:17:01.840 dance together. And because they might do a different step, 0:17:01.840 --> 0:17:03.160 they might go somewhere else, or. 0:17:03.120 --> 0:17:05.720 Something they might cross slightly earlier, or something like, I 0:17:05.800 --> 0:17:16.760 need to know what the what it's about. Sure, Clarry, 0:17:16.760 --> 0:17:22.120 you are legendary in truly in this business. You have 0:17:22.160 --> 0:17:29.359 been a camera operator well over forty years, and I 0:17:29.800 --> 0:17:35.800 just I just love hearing all the stuff that you 0:17:36.040 --> 0:17:39.560 have created, and you know, not to mention you're composing, 0:17:39.640 --> 0:17:42.320 which I have been raving about, and your you know, 0:17:42.600 --> 0:17:46.119 your art and your activism and you know all of 0:17:46.160 --> 0:17:47.800 the things that you do that I just you know, 0:17:47.880 --> 0:17:52.360 I love you for. But but what was it for 0:17:52.440 --> 0:17:55.800 you that like like going way way back? What was 0:17:55.840 --> 0:17:57.840 it that made you go, this is what I want 0:17:57.880 --> 0:17:59.720 to do, This is how I want to create art 0:18:00.160 --> 0:18:00.720 in the world. 0:18:01.200 --> 0:18:06.479 This is funny, it's actually true. Two things. When I 0:18:06.520 --> 0:18:12.720 was very young, I loved bloney and I would take 0:18:12.760 --> 0:18:15.320 a little hole out of the very center of it 0:18:15.920 --> 0:18:19.840 and I called it record meet and Mom would go 0:18:19.880 --> 0:18:21.320 so well, I got to buy some more record meat 0:18:21.320 --> 0:18:24.200 for Larry because I could put it on my finger 0:18:24.240 --> 0:18:28.119 and i'd spin it now. And then secondly, when I 0:18:28.160 --> 0:18:30.720 started to learn to read, which is probably about five 0:18:30.800 --> 0:18:34.800 or six years old, I was early early I'm reading 0:18:35.119 --> 0:18:40.760 compared to most kids. I saw a movie and it 0:18:40.800 --> 0:18:43.840 was about the Lumier brothers, believe it or not. And 0:18:44.200 --> 0:18:46.520 it was an old I think Walter Pigeon or somebody 0:18:46.560 --> 0:18:48.199 like that was and I don't even remember the name 0:18:48.240 --> 0:18:56.359 of the film. And in it, I saw that his 0:18:56.520 --> 0:19:00.520 girlfriend or wife or somebody came over to him and 0:19:00.680 --> 0:19:04.159 took a book and she had put dots in the 0:19:04.400 --> 0:19:07.280 sides of the page with a cat and a stick 0:19:07.280 --> 0:19:12.679 for your lady with a umbrella trying to hit the 0:19:13.560 --> 0:19:15.520 and she flipped the pages to make the end flipped. 0:19:18.040 --> 0:19:20.239 I was like five at that time, and I saw that, 0:19:21.080 --> 0:19:23.600 and I asked my dad to go gat some three 0:19:23.640 --> 0:19:26.040 by five cards to give me a big deck, and 0:19:26.080 --> 0:19:29.640 I drew pictures for hours, and I made a big 0:19:29.720 --> 0:19:34.760 flip image of a rocket taking on. That was my 0:19:34.840 --> 0:19:38.960 first movie. That's where it started. And so you don't 0:19:39.040 --> 0:19:42.280 know what things are going to come at you that 0:19:42.359 --> 0:19:46.960 you are just just grab you, you know. My mother 0:19:47.000 --> 0:19:51.000 also had an ultra ultra sensitive hearing, and she couldn't 0:19:51.000 --> 0:19:53.240 read a note of music, but she was always good 0:19:53.280 --> 0:19:57.680 at at playing piano by ear. She had very good 0:19:58.119 --> 0:20:00.600 tonal acuity, which I didn't know as a child that 0:20:00.640 --> 0:20:04.040 I had that too. It's not perfect pitch. It's called 0:20:04.080 --> 0:20:07.000 relative pitch. Perfect pitch is something you can have if 0:20:07.040 --> 0:20:09.840 you enhance it by the time you're five, but if 0:20:09.880 --> 0:20:14.840 you're fifter five, it goes away. Generally speaking, it goes away. 0:20:14.960 --> 0:20:17.840 Almost everybody can do it if you are caught soon 0:20:17.960 --> 0:20:22.600 enough and if you're trained well enough. I think there's 0:20:22.600 --> 0:20:26.359 something like forty or fifty phonemes that are in the 0:20:26.359 --> 0:20:28.800 English language, and they're all the same ones that may 0:20:28.840 --> 0:20:33.400 call it, you know, they all those sounds and put 0:20:33.440 --> 0:20:36.600 in different order. Those forty or fifty sounds create our 0:20:36.640 --> 0:20:40.639 words that we understand. But in some areas, like in 0:20:40.680 --> 0:20:42.359 certain areas of China and so forth, they have like 0:20:42.359 --> 0:20:45.480 two hundred and fifty they have four hundred phone memes, 0:20:45.960 --> 0:20:51.320 so it's not just eh, it's all mean something else. 0:20:52.440 --> 0:20:55.119 We don't have that in our language. So the problem 0:20:55.200 --> 0:20:57.880 is as our kids grow older and get to become 0:20:57.880 --> 0:21:01.000 five or six years old, all of that starts to 0:21:01.040 --> 0:21:02.040 go away, right, You. 0:21:01.960 --> 0:21:06.399 Lose the ability to hear those distinct sounds in yeah, 0:21:06.400 --> 0:21:10.640 and also the almost the exact tongue placement of like 0:21:10.640 --> 0:21:13.280 like some languages that are very they have like a 0:21:13.720 --> 0:21:16.439 this is my weird little ad d linguist moment, but 0:21:16.520 --> 0:21:18.239 like they call it like a glottal stop where it's 0:21:18.400 --> 0:21:19.840 kind of that thing in the back of your throat, 0:21:19.840 --> 0:21:22.960 like a lot of Vietnamese things like that becomes very 0:21:23.000 --> 0:21:28.000 hard to do, almost perfectly, because you don't learn how 0:21:28.000 --> 0:21:30.879 to like position your tongue and your soft palate in 0:21:30.920 --> 0:21:34.879 the correct way, and so as your mouth forms you 0:21:34.960 --> 0:21:39.720 lose that ability anyway, random little side note, but but yeah, 0:21:39.760 --> 0:21:45.280 it like that is I mean the language and art 0:21:45.400 --> 0:21:47.840 and all of that like that, that was the thing 0:21:48.080 --> 0:21:50.399 that you wanted to do and tell stories and be 0:21:50.480 --> 0:21:53.480 able to like express to the world. 0:21:53.359 --> 0:21:58.480 Right absolutely, And so for me the visual thing and 0:21:57.920 --> 0:22:02.239 the sensing of sound and rhythms and such. I was 0:22:02.480 --> 0:22:05.800 usually left home my folks. I could go out on 0:22:05.840 --> 0:22:08.040 the evenings and I would take care of my little 0:22:08.040 --> 0:22:11.600 brother was seven years younger. So we had a back 0:22:11.640 --> 0:22:13.560 in those days. Weren't even stereo, but it was a hi 0:22:13.640 --> 0:22:18.520 fi system. We had a local channel that had almost 0:22:18.560 --> 0:22:21.680 no advertising on it at all. It was all classical music. 0:22:22.640 --> 0:22:26.199 That's what I would turn on to listen to and 0:22:26.280 --> 0:22:29.879 just lie on the living room floor underneath that hi 0:22:30.040 --> 0:22:34.119 fi just to kind of have have my fright. You know, 0:22:34.160 --> 0:22:37.359 your kids are young, they're scared of things, and I 0:22:37.359 --> 0:22:39.920 felt like, well it was here, I'm calm and everything's good. 0:22:40.440 --> 0:22:43.439 So all of those things kind of blended together to 0:22:43.480 --> 0:22:49.199 create this media, this desire to observe, and then the 0:22:49.240 --> 0:22:51.959 next thing that happens. I've discovered the great films of 0:22:52.560 --> 0:22:56.159 David Lean and the great films of Hitchcock, and of 0:22:56.160 --> 0:23:00.720 course many many others. I mean, certainly uh, we could 0:23:00.760 --> 0:23:09.600 go on and on. But the way that I learned 0:23:09.600 --> 0:23:13.360