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Speaker 1: Hey, everybody, welcome back to the playlist. It's me Josh,

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Speaker 1: and this episode is all about special effects. We tried

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Speaker 1: to cram as much as we possibly could into this episode,

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Speaker 1: and there's a lot to talk about with special effects,

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Speaker 1: and there's all sorts of different kinds of special effects.

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Speaker 1: Most of the stuff we think of today is all CGI,

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Speaker 1: but that's built on things that people used to have

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Speaker 1: to build with their own hands to make amazing movies

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Speaker 1: look believable. I hope you enjoyed this episode, and I

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Speaker 1: hope you've enjoyed this playlist. Welcome to Stuff you Should Know,

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Speaker 1: a production of iHeartRadio. Hey, and welcome to the podcast.

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Speaker 1: I'm Josh Clark. There's Charles w Chuck Bryant wearing his

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Speaker 1: Stone Temple Pilot's hat, and there's Jerry over there. She's

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Speaker 1: not wearing any hat. She's got really cool hair.

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Speaker 2: It's not Stone Temple Pilots.

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

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Speaker 1: before and that's.

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

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Speaker 2: Zone yesterday.

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Speaker 1: I have a Champion spark Plug hat. Yeah, they have

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Speaker 1: good hats, they really do.

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

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Speaker 2: want these two hats. It was a good Year Akron,

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

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Speaker 2: so I wanted that. And then I saw this stp.

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Speaker 1: Hat Stone Temple Pilot.

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

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Speaker 2: Those are That's great.

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

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Speaker 1: just got to give it back.

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

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Speaker 2: baseball cap.

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

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Speaker 1: to see.

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

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Speaker 1: I keep the legs covered.

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

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

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Speaker 2: nine years ago.

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

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

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Speaker 2: and now we can afford lawnmowers.

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

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Speaker 1: those plugin lawnmowers.

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

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Speaker 2: stupid liberal hippies.

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

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Speaker 1: plug it in and charge it.

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

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Speaker 2: the green one.

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

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Speaker 2: No, there's a blue one.

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Speaker 1: Oh, I've got the green one to the sun Joe.

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Speaker 2: No, but I have a sun Joe pressure watcher.

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Speaker 1: Do you really is it battery operated?

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Speaker 2: No? You plug that in?

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

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Speaker 1: tinkles out water.

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Speaker 2: But they do make plug in lawnmowers. Like, it's not

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Speaker 2: a battery. You just like have a cord that you

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Speaker 2: walk around.

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Speaker 1: And run over with your lawnmower.

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

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

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Speaker 2: we may be done period with grass.

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

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

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

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

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

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Speaker 2: to do a seven minute.

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Speaker 1: Mo There's just that one bladed grass that sees the

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Speaker 1: lawnmower coming.

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

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Speaker 2: because lawnmowers are terrible for the environment.

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

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Speaker 2: They're one of the worst.

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

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Speaker 1: our battery powered lawnmowers with coal fired power.

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Speaker 2: Yes, and we understand that.

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Speaker 1: We know.

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Speaker 2: I'm just talking about exhaustpiums.

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

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

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

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

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

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

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Speaker 2: It is a great way to start this episode.

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Speaker 1: So we're talking special effects.

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Speaker 2: Obviously, this has been lawn talk.

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

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

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

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

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

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

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Speaker 1: Yeah wrong.

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Speaker 2: Yeah, just tiny little things that you may not even notice,

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Speaker 2: to things that are almost whole cloth special effects like

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Speaker 2: Skycaptain in the World of.

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Speaker 1: Tomorrow yeah, or Sin City.

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Speaker 2: Yeah. I like both of those Yes, did.

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Speaker 1: You know Sin City? Every single bit of the set

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Speaker 1: was cgi.

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

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Speaker 2: before huh yep, every bit of that was. It was

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Speaker 2: a green screen movie.

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

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Speaker 2: It was interesting, Like the look of it was amazing

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Speaker 2: and very much ahead of its time.

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Speaker 1: Like real art deco.

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

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

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

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

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

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

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

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Speaker 1: but have you seen the Changeling?

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

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

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

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Speaker 1: did with that one.

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Speaker 2: Changed.

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

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Speaker 1: like it is wonderful.

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Speaker 2: Yeah. I miss Georgie Scott too.

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

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

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

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Speaker 2: many years.

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

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Speaker 1: gonna get derailed like every five sets. Okay.

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Speaker 2: Effects are divided, and this is by the Grab story

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Speaker 2: helped us out with this. AD's a big movie guy

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

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Speaker 2: enjoyed writing this one up. They're divided into three general categories,

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Speaker 2: and this all has to do with where the effect

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Speaker 2: is happening. It can be practical, which is in front

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Speaker 2: of the camera, and that means it's a physical thing

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Speaker 2: that's happening.

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

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

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Speaker 1: I mean me.

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Speaker 2: In camera effects that happened inside the camera, and then

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

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Speaker 2: all three of these.

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

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Speaker 1: makeup and prosthetics, like ed uses, the example of David

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Speaker 1: Lynch's The Elephant Man, like the prosthetic makeup that was

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Speaker 1: used to turn John Hurt or John Hurd which one

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

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Speaker 1: explosion on set, that's a special effect, a blood packet

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

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Speaker 1: the chest. A squib that's a special effect. All three

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

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Speaker 1: physical world in front of you on set, being captured

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

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

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

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

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

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

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Speaker 2: That's a practical effect too.

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Speaker 1: Little things like that, But it's lighting. It's a lighting effect, yeah.

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

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Speaker 2: I mean it's real fire.

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Speaker 1: Somebody should put that out.

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

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

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

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Speaker 2: Or they hide those and then that's your fire. Sure,

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

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

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

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Speaker 2: They are kind of dreamy they're so good.

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Speaker 1: So in camera effects is just basically messing with the

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Speaker 1: way the film is being produced inside the camera, not

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Speaker 1: what's going on in reality the film is capturing, but

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Speaker 1: how the film is actually capturing this stuff.

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

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

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

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

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

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

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

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

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Speaker 2: it again.

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Speaker 1: Like Bewitched appearing out of nowhere.

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

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

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

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

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

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

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

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

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Speaker 1: got more.

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

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

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Speaker 2: because of each department is their own craft. I didn't

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Speaker 2: know they're there to serve them pizza rolls.

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Speaker 1: Yeah, man, or whatever. You can put on some weight

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

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

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

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

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

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Speaker 2: per second.

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

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Speaker 1: with g I Joe?

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

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

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

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

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

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Speaker 1: later from Lucasfilm after talking about us in the podcast Night.

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Speaker 2: And then we have post production effects, and that is

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

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Speaker 2: as special effects these days, really, because that's all the

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Speaker 2: CGI stuff that you will see is all happens in post.

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

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Speaker 1: almost all special effects happen imposts these days. Right.

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

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

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

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Speaker 2: They can.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Speaker 1: afford them and try messing around with them. They had

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Speaker 1: a basis of trickery to begin with, but there's a

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

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

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Speaker 1: figured this out right away.

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

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

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

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

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

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

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

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

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

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

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Speaker 1: Did you want to? Did you see that one?

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

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

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

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

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

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

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Speaker 2: He did a really good job.

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

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

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

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Speaker 1: position as the actor.

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

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

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

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

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

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Speaker 2: it like me.

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

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Speaker 1: but a guy named George may leise did they get it? Maylee?

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Speaker 2: We should go ask Casey Pegram.

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Speaker 1: Oh yeah, he would know.

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

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Speaker 1: I think he just nailed it. At any rate, this

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Speaker 1: guy is known as the father of special effects.

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Speaker 2: Yeah.

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

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

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Speaker 1: people working in this field.

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Speaker 2: And none of the five people did.

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

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

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

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

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

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

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

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

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Speaker 2: fixes the camera.

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Speaker 1: Can we say that? Sure? All right? We don't have

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Speaker 1: any French people sitting?

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

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

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

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Speaker 2: stumbled upon this weird little substance tution splice that became

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Speaker 2: part of filmmaking.

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

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

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

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Speaker 1: suddenly transformed into a hearse.

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Speaker 2: And he said, wait till they get a load of

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

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

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Speaker 1: So you may not recognize George Meliaise, oh I got

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

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Speaker 1: have heard of his work like a Trip to the Moon. Yeah,

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Speaker 1: what's very widely sighted is like one of the first

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Speaker 1: actual movies. I think it was in the twenty something

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Speaker 1: minute range. But it was about some explorers in the

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Speaker 1: Victorian era getting into a rocket and traveling to the

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Speaker 1: moon and the rocket lands and the man in the

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Speaker 1: Moon's eye. Yeah, everybody's seen that. I don't care who

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Speaker 1: you are. If you say you haven't, you have. This

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Speaker 1: was the guy who made that. And this is a

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Speaker 1: very early movie. It was from nineteen oh two, but

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Speaker 1: he was doing all sorts of a maze using stuff.

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Speaker 1: He was using extensive costuming, masks, all sorts of in

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Speaker 1: camera techniques.

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Speaker 2: His painting on film frames.

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

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

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

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Speaker 2: Should we take a quick break?

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Speaker 1: I think so.

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

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

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

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

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

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

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

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

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Speaker 2: piece of glass where you have and I'm going to

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

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

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

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

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

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

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

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

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

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

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Speaker 2: was a matte painter.

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

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Speaker 2: That was like his first job.

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Speaker 1: It's Nate like, if you, if you even if you

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

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

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Speaker 2: It's amazing.

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

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

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

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

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Speaker 1: or something like that. What you're actually looking at is

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

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

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

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

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

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

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

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

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

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

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

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

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Speaker 1: and widespread special effect ever. Maybe hard to argue that,

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Speaker 1: thank you, like it was in Mary Poppins. When Mary

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Speaker 1: Poppins is coming into the City of London float, that's

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Speaker 1: a Matte painting. When Superman walks into the uh, where's

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Speaker 1: the what's the name of the place where he's from?

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Speaker 1: The Crystal Cave.

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Speaker 2: Where Fortress of Solitude.

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

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Speaker 1: his dad? Uh yeah, I think so, Okay, that's a

387
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Speaker 1: matte painting, and.

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Speaker 2: I think the Fortress of Solitude are the remnants of Krypton. Okay,

389
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Speaker 2: I'm boy, Superman. People are so mad at me right now.

390
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Speaker 1: People still I thought everybody's on the marble train.

391
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Speaker 2: No, people love Superman the comics.

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

393
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Speaker 1: seen what they've done Superman lately, right and Batman?

394
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Speaker 2: Yeah? So, uh, that's the matte painting. And what that

395
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Speaker 2: is it's called set extension. So that basically means you're

396
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Speaker 2: just sort of extending the real life set to make

397
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Speaker 2: something bigger and more opulent, or maybe not more obvious,

398
00:19:06,359 --> 00:19:08,120
Speaker 2: just bigger and more.

399
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Speaker 1: But here's the.

400
00:19:09,080 --> 00:19:12,760
Speaker 2: Thing, relying on that mat painter and having the glass there,

401
00:19:12,800 --> 00:19:16,840
Speaker 2: and glass can break and it can you know, on

402
00:19:17,000 --> 00:19:20,239
Speaker 2: set with lighting can be weird. So that's all can

403
00:19:20,280 --> 00:19:23,240
Speaker 2: get a little hinky. So that's why this technique called

404
00:19:23,320 --> 00:19:27,239
Speaker 2: original negative matte painting was developed by Norman Don and

405
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Speaker 2: that is when nowadays he'll use what's called the mat box,

406
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Speaker 2: which is literally like black. I don't think it's cardboard

407
00:19:34,400 --> 00:19:37,199
Speaker 2: these days, but whatever they make out of a cardboard

408
00:19:38,000 --> 00:19:40,280
Speaker 2: thing that you put over the lens to block out

409
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Speaker 2: whatever you want to block out. Back in the day,

410
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Speaker 2: they would paint cardboard and hold it in front of

411
00:19:45,480 --> 00:19:47,879
Speaker 2: the lens, or they would actually paint the lens. And

412
00:19:47,920 --> 00:19:52,600
Speaker 2: what you're essentially doing is painting away. It was early

413
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Speaker 2: green screen. You're painting away what you don't want in

414
00:19:55,400 --> 00:19:58,800
Speaker 2: the frame or what you want in the future, and

415
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Speaker 2: then adding that later on.

416
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Speaker 1: Right, And because it's black or because it's covered, there's

417
00:20:04,600 --> 00:20:07,960
Speaker 1: light is not hitting that part of the film. That

418
00:20:08,080 --> 00:20:11,280
Speaker 1: part of the film, the actual film strip itself that

419
00:20:11,320 --> 00:20:16,480
Speaker 1: you're recording onto or filming onto, that's unexposed. All that

420
00:20:16,560 --> 00:20:19,480
Speaker 1: gets exposed is the part of the lens or the

421
00:20:19,560 --> 00:20:23,000
Speaker 1: camera that is not covered that has say, your actor

422
00:20:23,359 --> 00:20:26,399
Speaker 1: like doing the herky jerky dance, right. And then so

423
00:20:26,440 --> 00:20:28,720
Speaker 1: what you do after that is you take that film

424
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Speaker 1: that has your actor doing the herky jerky dance projected

425
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Speaker 1: onto a screen so you see where the actor is, yes,

426
00:20:35,359 --> 00:20:38,600
Speaker 1: and on the screen, you literally paint the background that

427
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Speaker 1: you want. Then you film the whole thing a second

428
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Speaker 1: time and now you have your actor in the set

429
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Speaker 1: that you originally wanted.

430
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Speaker 2: Right. The only difference there, which is something that wasn't

431
00:20:52,000 --> 00:20:54,119
Speaker 2: quite right here, is they don't like project it. They

432
00:20:54,200 --> 00:20:57,159
Speaker 2: just develop a few frames of it and project it

433
00:20:57,200 --> 00:20:59,560
Speaker 2: like a slide gotcha. So it's not like the camera

434
00:20:59,680 --> 00:21:02,680
Speaker 2: the film was moving through on the wall, right, because

435
00:21:02,720 --> 00:21:04,960
Speaker 2: in the article here says and then you just stop it,

436
00:21:05,560 --> 00:21:08,760
Speaker 2: and what happens if you do that is the bulb

437
00:21:08,880 --> 00:21:11,920
Speaker 2: burns the film. Okay, So you can't just stop a

438
00:21:12,160 --> 00:21:13,360
Speaker 2: mooty projector.

439
00:21:12,960 --> 00:21:14,840
Speaker 1: You produce like a slide of and project that.

440
00:21:15,000 --> 00:21:16,600
Speaker 2: Yeah, and then you paint in the castle or the

441
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Speaker 2: mountain or the whatever you want, and then you go

442
00:21:19,560 --> 00:21:22,480
Speaker 2: back and expose it again. Yep, pretty neat.

443
00:21:22,720 --> 00:21:24,960
Speaker 1: You just open your trench coat. There you go.

444
00:21:25,840 --> 00:21:30,320
Speaker 2: And the big innovator with the original negative matte painting

445
00:21:30,400 --> 00:21:35,400
Speaker 2: was Norman Down and he really like really led the way.

446
00:21:35,840 --> 00:21:39,520
Speaker 1: But I mean again, most of the stuff that does

447
00:21:39,600 --> 00:21:42,720
Speaker 1: this now is done by computers imposed. But this is

448
00:21:42,760 --> 00:21:45,400
Speaker 1: like the links people were going to to make movies

449
00:21:45,440 --> 00:21:47,840
Speaker 1: at the time, and you watch them today and you're like, god,

450
00:21:47,880 --> 00:21:50,640
Speaker 1: it looks terrible. But if you stop and think about

451
00:21:50,680 --> 00:21:54,199
Speaker 1: the effort that they were going to they were inventing. Yeah,

452
00:21:54,520 --> 00:21:57,520
Speaker 1: it's just mind boggling that they managed to get it,

453
00:21:57,800 --> 00:21:58,879
Speaker 1: you know to this point.

454
00:21:59,080 --> 00:22:02,280
Speaker 2: Yeah, Norman don I had to patent that technique as well,

455
00:22:02,600 --> 00:22:05,919
Speaker 2: but they said, no, you did not invent this, You

456
00:22:06,280 --> 00:22:08,920
Speaker 2: popularized it, and you can't patent something that you made

457
00:22:08,920 --> 00:22:09,640
Speaker 2: super popular.

458
00:22:10,600 --> 00:22:13,120
Speaker 1: There are some other stuff too. There's like rear projection

459
00:22:13,280 --> 00:22:16,919
Speaker 1: in front projection, which is basically like projecting the background

460
00:22:16,960 --> 00:22:20,920
Speaker 1: and moving background onto a screen behind the actors. Yeah,

461
00:22:21,080 --> 00:22:23,680
Speaker 1: basically you know all those hokey driving scenes. Yeah, yeah,

462
00:22:23,720 --> 00:22:26,159
Speaker 1: the person's great, the car is being rocked or whatever

463
00:22:26,200 --> 00:22:28,560
Speaker 1: the road behind him, that's front of rear projection.

464
00:22:28,840 --> 00:22:32,480
Speaker 2: Yeah, and people still will use that as homage, like

465
00:22:32,520 --> 00:22:36,720
Speaker 2: in pulp fiction, very famously Bruce Willis or I guess not, Yeah,

466
00:22:36,840 --> 00:22:39,520
Speaker 2: when Bruce Willis gets in the cab after the fight. Yeah,

467
00:22:39,560 --> 00:22:42,680
Speaker 2: and if it looks old fashioned, this because QT used

468
00:22:42,720 --> 00:22:46,360
Speaker 2: rear screen projection for that. And there's also a technique

469
00:22:46,359 --> 00:22:49,040
Speaker 2: that's not in here that I just remembered, So I'm

470
00:22:49,040 --> 00:22:52,480
Speaker 2: actually having to look up what it's called. When you're

471
00:22:52,520 --> 00:22:55,880
Speaker 2: in a car scene but you're not doing a rear

472
00:22:55,880 --> 00:22:59,520
Speaker 2: screen projection, so what happens here is you're sitting in

473
00:22:59,520 --> 00:23:01,280
Speaker 2: a car, in a still car on the set, but

474
00:23:01,280 --> 00:23:04,240
Speaker 2: they're not projecting anything behind you. What you've got is

475
00:23:05,320 --> 00:23:07,280
Speaker 2: two people shaking the car at a frame.

476
00:23:07,600 --> 00:23:08,520
Speaker 1: What do they gripped?

477
00:23:09,400 --> 00:23:12,200
Speaker 2: Yeah, usually a grip. But I've shaken cars and trains before.

478
00:23:12,520 --> 00:23:14,960
Speaker 2: It's because I'm just a body on the set, Like,

479
00:23:15,000 --> 00:23:17,280
Speaker 2: get in there and shake that thing. In fact, one

480
00:23:17,359 --> 00:23:19,080
Speaker 2: job I was on there was a faked subway train

481
00:23:19,160 --> 00:23:22,320
Speaker 2: and the hydraulics broke early on and they're like, bring

482
00:23:22,320 --> 00:23:24,600
Speaker 2: out the PA's you're gonna shake this train for twelve hours.

483
00:23:24,920 --> 00:23:26,760
Speaker 1: Like you got rhythm, get in there.

484
00:23:27,040 --> 00:23:28,960
Speaker 2: Yeah. Oh, we couldn't have too much rhythm because we

485
00:23:29,000 --> 00:23:32,719
Speaker 2: got yelled at for that because it looked too rhythmic.

486
00:23:32,920 --> 00:23:33,240
Speaker 1: Gotcha.

487
00:23:33,640 --> 00:23:35,199
Speaker 2: So we're like, I don't know what, I don't know

488
00:23:35,240 --> 00:23:35,760
Speaker 2: how to do this.

489
00:23:35,960 --> 00:23:37,600
Speaker 1: Who are you working for? Oh?

490
00:23:37,600 --> 00:23:40,280
Speaker 2: It was just a commercial director that said that our

491
00:23:40,680 --> 00:23:43,520
Speaker 2: movement of the train looked to rhythmic and not believable.

492
00:23:44,119 --> 00:23:47,720
Speaker 1: So anyway, this Fruit of the Loom's commercial was totally unbelievable.

493
00:23:48,320 --> 00:23:50,600
Speaker 2: You sit in the car, you're acting like you're driving.

494
00:23:50,880 --> 00:23:54,040
Speaker 2: There's someone else shaking the car. There might be someone

495
00:23:54,040 --> 00:23:59,040
Speaker 2: else off camera, like flashing a light through the car

496
00:23:59,280 --> 00:24:01,639
Speaker 2: like you're going by a street light, or a headlight

497
00:24:01,680 --> 00:24:04,240
Speaker 2: goes across their face. And there may be fake rain

498
00:24:04,320 --> 00:24:07,000
Speaker 2: in the background. And this is sometimes like six seven

499
00:24:07,080 --> 00:24:10,040
Speaker 2: eight people working in concert to make it look like

500
00:24:10,080 --> 00:24:11,879
Speaker 2: you're driving at night in the rain or something like that.

501
00:24:11,920 --> 00:24:14,680
Speaker 1: Right, So there's really like an obvious background trees or

502
00:24:14,720 --> 00:24:17,240
Speaker 1: rode or whatever. But maybe there's headlights coming up behind

503
00:24:17,280 --> 00:24:17,960
Speaker 1: you just dark.

504
00:24:18,119 --> 00:24:20,480
Speaker 2: Yeah, but there are people with a spotlight.

505
00:24:20,640 --> 00:24:20,880
Speaker 1: Yeah.

506
00:24:20,920 --> 00:24:23,800
Speaker 2: It's really really cool, old fashioned, but people still use

507
00:24:23,840 --> 00:24:26,880
Speaker 2: that stuff. And I wish I could remember the full

508
00:24:26,960 --> 00:24:28,719
Speaker 2: name of that technique.

509
00:24:28,640 --> 00:24:32,240
Speaker 1: The shaken shimmy.

510
00:24:33,119 --> 00:24:34,760
Speaker 2: I'm gonna be so mad later on.

511
00:24:35,240 --> 00:24:37,560
Speaker 1: What was this called the shake and chimmy? Okay, that's right.

512
00:24:38,800 --> 00:24:41,760
Speaker 1: So you talked about green screen, and that's actually super

513
00:24:41,800 --> 00:24:47,000
Speaker 1: old too. There's a really convoluted explanation about how originally

514
00:24:47,119 --> 00:24:53,240
Speaker 1: green screen employed sodium vapor lights, yeah, which would actually

515
00:24:53,359 --> 00:24:59,760
Speaker 1: mess with the yellow exposure on panchromatic film, and my

516
00:25:00,640 --> 00:25:02,760
Speaker 1: I started bleeding out of my ear. I cannot tell

517
00:25:02,760 --> 00:25:05,119
Speaker 1: you how many times I read descriptions about this and

518
00:25:05,160 --> 00:25:08,840
Speaker 1: I can't quite get it. So suffice to say that

519
00:25:08,840 --> 00:25:12,840
Speaker 1: that was one technique for green screen. What really kind

520
00:25:12,880 --> 00:25:16,479
Speaker 1: of changed the industry is when they figured out that again,

521
00:25:16,800 --> 00:25:23,560
Speaker 1: if you if you film in black, the film is

522
00:25:23,560 --> 00:25:26,199
Speaker 1: not going to be exposed. So anything you go and

523
00:25:26,520 --> 00:25:29,879
Speaker 1: re expose it to it will cover over that stuff

524
00:25:30,119 --> 00:25:33,400
Speaker 1: like it's transparent. So for example, in The Invisible Man

525
00:25:33,520 --> 00:25:36,919
Speaker 1: from I think nineteen thirty thirty thirty three, yeah, Claude

526
00:25:36,960 --> 00:25:41,840
Speaker 1: Rains wore a black bodysuit and the background was black.

527
00:25:42,160 --> 00:25:44,320
Speaker 1: It was a black screen, like a black green screen.

528
00:25:46,400 --> 00:25:49,080
Speaker 1: But he wore clothes and everything in bandages and sunglasses

529
00:25:49,119 --> 00:25:51,320
Speaker 1: and I think he smoked a cigarette or whatever. But

530
00:25:51,400 --> 00:25:53,919
Speaker 1: when he took the bandages off and he took his

531
00:25:53,920 --> 00:25:57,119
Speaker 1: sunglasses and closed off, there was nothing there. It was

532
00:25:57,160 --> 00:26:00,680
Speaker 1: a black bodysuit and a black background. So when they

533
00:26:00,760 --> 00:26:05,320
Speaker 1: filmed the background later on, all you could see was

534
00:26:05,359 --> 00:26:08,120
Speaker 1: the background in the clothes and the bandages. It looked

535
00:26:08,160 --> 00:26:10,520
Speaker 1: like there was nothing there because as far as the

536
00:26:10,520 --> 00:26:13,160
Speaker 1: film was concerned, when they were filming it, there wasn't

537
00:26:13,200 --> 00:26:16,080
Speaker 1: anything there. So the film wasn't exposed in those sections

538
00:26:16,080 --> 00:26:16,760
Speaker 1: on each frame.

539
00:26:16,960 --> 00:26:19,680
Speaker 2: That's right, And that's called the Williams process, and a

540
00:26:19,800 --> 00:26:22,359
Speaker 2: key part of the Williams process is the optical printer,

541
00:26:22,840 --> 00:26:25,360
Speaker 2: and that is a projector that actually prints an image

542
00:26:25,359 --> 00:26:28,440
Speaker 2: directly onto the film that runs through the camera while

543
00:26:28,480 --> 00:26:30,000
Speaker 2: that printer and camera are synced up.

544
00:26:30,200 --> 00:26:32,840
Speaker 1: Yes, so this is to me, the optical printer is

545
00:26:32,880 --> 00:26:38,840
Speaker 1: the second most widespread and useful special effect technique in

546
00:26:38,880 --> 00:26:39,760
Speaker 1: the history of film.

547
00:26:40,320 --> 00:26:41,280
Speaker 2: You just waved your hand.

548
00:26:42,640 --> 00:26:44,639
Speaker 1: They suddenly had an ass gotten a er a on.

549
00:26:45,600 --> 00:26:47,960
Speaker 2: Yeah, hard to argue that too. But all this stuff

550
00:26:48,040 --> 00:26:50,400
Speaker 2: was just precursor to what was blue screen early on

551
00:26:51,280 --> 00:26:54,200
Speaker 2: Chroma Key blue and then later became Chroma Key green.

552
00:26:54,920 --> 00:26:57,640
Speaker 2: I'm not sure why they made the switch actually, other

553
00:26:57,720 --> 00:27:00,960
Speaker 2: than maybe the green less prevalent or less use I

554
00:27:00,960 --> 00:27:04,119
Speaker 2: think so. Probably maybe the blue was because you know what,

555
00:27:04,200 --> 00:27:08,480
Speaker 2: you don't want anything close to that color will disappear

556
00:27:08,680 --> 00:27:09,680
Speaker 2: against the green screen.

557
00:27:10,000 --> 00:27:12,680
Speaker 1: Anyone who's ever done the weather on the newscast I

558
00:27:12,720 --> 00:27:13,320
Speaker 1: can tell you.

559
00:27:13,240 --> 00:27:15,560
Speaker 2: That, Yeah, there have been. There are blooper reels of

560
00:27:15,600 --> 00:27:18,359
Speaker 2: weather people disappearing when they wear like a green jacket

561
00:27:18,440 --> 00:27:18,760
Speaker 2: or something.

562
00:27:18,840 --> 00:27:21,480
Speaker 1: Right, it looks like the weather's going on through their body.

563
00:27:22,040 --> 00:27:24,640
Speaker 1: Same thing. So I want to say one more thing

564
00:27:24,640 --> 00:27:27,480
Speaker 1: about optical printers, or another little bit about it. Sure,

565
00:27:27,800 --> 00:27:31,000
Speaker 1: So what you have is a projector projecting a film

566
00:27:31,040 --> 00:27:35,960
Speaker 1: on to a screen, and you have a camera recording

567
00:27:36,000 --> 00:27:38,960
Speaker 1: what's being projected. Right, that's right, that's the optical printer.

568
00:27:39,200 --> 00:27:40,880
Speaker 1: And you could do all sorts of stuff with that.

569
00:27:41,160 --> 00:27:43,280
Speaker 1: So let's say you have a shot where you have

570
00:27:43,600 --> 00:27:47,119
Speaker 1: one mat in the foreground and live actor and then

571
00:27:47,160 --> 00:27:49,919
Speaker 1: another mat in the background that has a bunch of

572
00:27:49,920 --> 00:27:53,280
Speaker 1: different people in it or something like that, or stormtroopers three. Okay,

573
00:27:53,400 --> 00:27:56,240
Speaker 1: so you've got three different elements to that shot. What

574
00:27:56,280 --> 00:28:00,240
Speaker 1: you would do is using the same film film each thing.

575
00:28:00,520 --> 00:28:03,720
Speaker 1: So you go film that, like the actor, the live

576
00:28:03,760 --> 00:28:06,159
Speaker 1: action actor, You've got that on the film, and you

577
00:28:06,200 --> 00:28:10,000
Speaker 1: project that, and you take film where you're filming the

578
00:28:10,080 --> 00:28:14,439
Speaker 1: mat and you project that and film that. I just

579
00:28:14,520 --> 00:28:17,040
Speaker 1: totally have screwed this up. Oh my god, this is

580
00:28:17,119 --> 00:28:22,239
Speaker 1: just like ohn, No, it's worse than that. Was it?

581
00:28:22,840 --> 00:28:27,520
Speaker 1: False false positives? Do you remember that time where I

582
00:28:27,640 --> 00:28:29,439
Speaker 1: was like, I took a pretty simple thing and just

583
00:28:29,560 --> 00:28:33,840
Speaker 1: completely walk the dog with it. Yeah, okay, well I'll

584
00:28:33,880 --> 00:28:36,040
Speaker 1: just do that again. Everyone. I want you to go

585
00:28:36,080 --> 00:28:38,360
Speaker 1: look up optical printers, read a little bit about them,

586
00:28:38,560 --> 00:28:40,040
Speaker 1: and then you'll say, oh, Josh is.

587
00:28:40,040 --> 00:28:42,560
Speaker 2: Right, Yeah, this tough stuff.

588
00:28:43,520 --> 00:28:46,600
Speaker 1: It is essentially you're filming a projection and you can

589
00:28:46,640 --> 00:28:49,520
Speaker 1: do that multiple times with the same film, and it

590
00:28:49,600 --> 00:28:52,560
Speaker 1: adds up to where you have the shot you wanted.

591
00:28:52,600 --> 00:28:54,520
Speaker 1: Where it makes it look like all these things that

592
00:28:54,560 --> 00:28:58,120
Speaker 1: you film three separate times are all happening together in

593
00:28:58,200 --> 00:28:58,960
Speaker 1: one space.

594
00:28:59,160 --> 00:29:02,640
Speaker 2: Yes, you're marrying separate images together onto a single piece

595
00:29:02,640 --> 00:29:03,000
Speaker 2: of film.

596
00:29:03,120 --> 00:29:06,160
Speaker 1: Right. You couldn't do that with before optical printers, which

597
00:29:06,240 --> 00:29:09,080
Speaker 1: is a projector in a camera working together.

598
00:29:09,880 --> 00:29:14,280
Speaker 2: That's right, Okay, I think I needed that We should

599
00:29:14,320 --> 00:29:18,720
Speaker 2: mention briefly motion controlled cameras. This is a system that

600
00:29:18,840 --> 00:29:23,760
Speaker 2: allows it's basically taking the person out of the equation.

601
00:29:24,360 --> 00:29:26,200
Speaker 2: There is not a person pushing a DOLLI, there is

602
00:29:26,200 --> 00:29:28,720
Speaker 2: not a person moving the camera. It is a machine

603
00:29:28,720 --> 00:29:33,720
Speaker 2: that is programmed to move a camera through space very

604
00:29:33,800 --> 00:29:36,600
Speaker 2: very precisely and exactly the same every single time.

605
00:29:36,720 --> 00:29:39,040
Speaker 1: Yeah, So you can do the exact same motion over

606
00:29:39,080 --> 00:29:39,880
Speaker 1: and over again.

607
00:29:39,720 --> 00:29:41,560
Speaker 2: Over and over and a lot of times. If you're

608
00:29:41,600 --> 00:29:43,720
Speaker 2: on a TV commercial, as boring as that is, you

609
00:29:43,760 --> 00:29:46,479
Speaker 2: will see stuff like this, for like a food shoot,

610
00:29:47,440 --> 00:29:51,160
Speaker 2: because food shoots are notoriously tricky because everything's super close

611
00:29:51,240 --> 00:29:53,720
Speaker 2: up and has to be perfect, and you can't be

612
00:29:53,800 --> 00:29:55,200
Speaker 2: off a little bit with a camera because a lot

613
00:29:55,240 --> 00:29:57,800
Speaker 2: of times you'll sub in stuff later in post. And

614
00:29:57,840 --> 00:30:01,920
Speaker 2: that's the whole reason for emotion control, is to replicate

615
00:30:03,160 --> 00:30:04,680
Speaker 2: moves with exact precision.

616
00:30:05,040 --> 00:30:08,840
Speaker 1: So I was reading about industrial light and magic using

617
00:30:08,880 --> 00:30:11,760
Speaker 1: this to really great effect with the first Star Wars,

618
00:30:12,120 --> 00:30:15,200
Speaker 1: which is episode four, right, the New Hope. That's the

619
00:30:15,240 --> 00:30:17,600
Speaker 1: first one, right right.

620
00:30:17,920 --> 00:30:20,080
Speaker 2: I'm not confirming or denying anything. I'm just gonna let

621
00:30:20,120 --> 00:30:20,400
Speaker 2: that stand.

622
00:30:20,560 --> 00:30:23,440
Speaker 1: Episode four is the first Star Wars movie that ever

623
00:30:23,480 --> 00:30:24,280
Speaker 1: came out.

624
00:30:24,560 --> 00:30:28,440
Speaker 2: Correct, The Star Wars A New Hope is the first

625
00:30:28,440 --> 00:30:31,880
Speaker 2: episode okay, that I ever saw in a movie theater, because.

626
00:30:31,560 --> 00:30:33,600
Speaker 1: It's the first one that ever came out. Anyway, when

627
00:30:33,600 --> 00:30:36,760
Speaker 1: they were making this, you know, is it a Star Destroyer?

628
00:30:37,920 --> 00:30:41,040
Speaker 1: The big the big daddy ships Okay, oh man, we're

629
00:30:41,040 --> 00:30:45,680
Speaker 1: gonna get murdered everything. All of the ships and Star

630
00:30:45,720 --> 00:30:48,840
Speaker 1: Wars were models, yes, fairly small models. Actually they were.

631
00:30:48,840 --> 00:30:51,360
Speaker 2: At that base, Okay, I think it was episode four,

632
00:30:51,880 --> 00:30:52,760
Speaker 2: I'm almost positive.

633
00:30:52,800 --> 00:30:56,600
Speaker 1: Okay, So those models were not moving in these shots

634
00:30:56,600 --> 00:31:00,480
Speaker 1: and these enormous like huge panoramic shots where like there's

635
00:31:00,960 --> 00:31:05,040
Speaker 1: tie fighters flying around shooting everything and X wing Fighters

636
00:31:05,080 --> 00:31:08,200
Speaker 1: shooting the tie Fighters. None of those models were moving.

637
00:31:08,720 --> 00:31:11,440
Speaker 1: What happened was they figured out how to use motion

638
00:31:11,600 --> 00:31:15,400
Speaker 1: controlled cameras so that the camera would go through the

639
00:31:15,480 --> 00:31:19,640
Speaker 1: shot around the model and make it look like the

640
00:31:19,640 --> 00:31:22,360
Speaker 1: model was moving, and plus it was moving the shot

641
00:31:22,480 --> 00:31:23,280
Speaker 1: through space.

642
00:31:23,400 --> 00:31:24,080
Speaker 2: Right.

643
00:31:24,800 --> 00:31:27,600
Speaker 1: The thing is is, let's say you have five different ships.

644
00:31:28,440 --> 00:31:31,920
Speaker 1: You film those five ships separately, but those five ships

645
00:31:32,000 --> 00:31:34,040
Speaker 1: are all going to be in the same shot, So

646
00:31:34,760 --> 00:31:37,680
Speaker 1: you have to film that same shot the exact same

647
00:31:37,760 --> 00:31:40,720
Speaker 1: way five different times and then run it through an

648
00:31:40,720 --> 00:31:43,480
Speaker 1: optical printer so that you can get all of them,

649
00:31:43,640 --> 00:31:46,760
Speaker 1: all five shots onto the same strip of film. But

650
00:31:46,920 --> 00:31:52,000
Speaker 1: that's one of the ways that motion controlled cameras were

651
00:31:52,040 --> 00:31:54,840
Speaker 1: really put to good use, and it was extremely groundbreaking

652
00:31:55,360 --> 00:31:58,720
Speaker 1: because not one of those ships were moving in reality

653
00:31:58,720 --> 00:32:00,400
Speaker 1: when they were filming Star Wars.

654
00:32:00,600 --> 00:32:02,680
Speaker 2: Can you name five Star warships.

655
00:32:02,600 --> 00:32:04,760
Speaker 1: Tie Fighter, X wing Fighter.

656
00:32:06,080 --> 00:32:08,120
Speaker 2: You already said one my tie fighter too.

657
00:32:08,880 --> 00:32:12,160
Speaker 1: Uh uh the deuce is what the people in the

658
00:32:12,200 --> 00:32:12,680
Speaker 1: no call it.

659
00:32:14,200 --> 00:32:18,320
Speaker 2: The Uh you already said star destroyer. So star destroyer

660
00:32:18,400 --> 00:32:20,760
Speaker 2: was right, Yeah, there's a Star Destroyer. Okay, you made

661
00:32:20,760 --> 00:32:23,840
Speaker 2: a face like I just was just totally off. You

662
00:32:23,880 --> 00:32:26,760
Speaker 2: can make the case that Indoor was a ship even

663
00:32:26,760 --> 00:32:27,600
Speaker 2: though it was a planet.

664
00:32:28,560 --> 00:32:33,800
Speaker 1: Uh. There was the the the forest Speeder, uh huh,

665
00:32:33,840 --> 00:32:39,640
Speaker 1: the the pod racer, Yeah, and.

666
00:32:41,280 --> 00:32:47,880
Speaker 2: Doctors as that's right, he's a final ship. Yeah. Uh.

667
00:32:48,360 --> 00:32:51,360
Speaker 1: Do you know many people, boy, their calf muscles just

668
00:32:51,480 --> 00:32:53,160
Speaker 1: popped right out of the back to their legs.

669
00:32:53,200 --> 00:32:55,600
Speaker 2: Ollie Fry is like hyperventilating somewhere in the office and

670
00:32:55,680 --> 00:32:59,760
Speaker 2: she doesn't know why. So, as I said earlier, it's

671
00:32:59,840 --> 00:33:03,680
Speaker 2: it's it's usually a combination of these different techniques to

672
00:33:03,800 --> 00:33:07,880
Speaker 2: create one overall special effect using these different crafts. And

673
00:33:08,640 --> 00:33:13,200
Speaker 2: a great example is Jurassic Park in the scene with

674
00:33:13,240 --> 00:33:16,760
Speaker 2: the veloscer raptors in the kitchen, a great great sequence

675
00:33:17,120 --> 00:33:19,840
Speaker 2: when it was playing cat and mouse with those children. Yeah,

676
00:33:20,240 --> 00:33:24,480
Speaker 2: there were puppets, there were actors in costumes, there were

677
00:33:24,560 --> 00:33:29,640
Speaker 2: animatronic raptor heads, and there were full cgi raptors and

678
00:33:29,720 --> 00:33:32,720
Speaker 2: you throw this all in a hat, mix it all up,

679
00:33:32,920 --> 00:33:35,040
Speaker 2: and it comes out to be like a really believable

680
00:33:35,080 --> 00:33:35,800
Speaker 2: looking scene.

681
00:33:35,880 --> 00:33:37,560
Speaker 1: Yeah, it comes out as an oscar.

682
00:33:39,920 --> 00:33:43,000
Speaker 2: Yeah. I'm sure they won oscars, right, but.

683
00:33:42,920 --> 00:33:45,440
Speaker 1: They had two of I don't know, but there's just

684
00:33:45,560 --> 00:33:46,480
Speaker 1: no way.

685
00:33:46,400 --> 00:33:51,360
Speaker 2: It was groundbreaking. I remember being just gobsmacked in the

686
00:33:51,360 --> 00:33:54,200
Speaker 2: movie theater. Yeah, when I first saw those dinosaurs walking

687
00:33:54,240 --> 00:33:54,920
Speaker 2: across the screen.

688
00:33:55,040 --> 00:33:56,840
Speaker 1: And that was nineteen ninety three, I believe, for the

689
00:33:56,880 --> 00:34:00,920
Speaker 1: first Jurassic Park, right, Jurassic Park, New Hope, the first

690
00:34:00,920 --> 00:34:05,320
Speaker 1: one that came out. So, but that was five years

691
00:34:05,320 --> 00:34:08,320
Speaker 1: after the first oscar had been awarded for special effects.

692
00:34:08,360 --> 00:34:10,920
Speaker 1: As far as I know, h really, I believe that

693
00:34:11,320 --> 00:34:14,760
Speaker 1: The Abyss was the first one to win an OSCAR

694
00:34:14,800 --> 00:34:18,360
Speaker 1: for special effects. Maybe or they're no, No, I'm sorry,

695
00:34:18,480 --> 00:34:22,040
Speaker 1: I'm way off, way off. The Abyss was the first

696
00:34:22,800 --> 00:34:26,520
Speaker 1: movie to win a special effect for a CGI effect. Okay,

697
00:34:26,719 --> 00:34:27,359
Speaker 1: remember the.

698
00:34:27,320 --> 00:34:29,680
Speaker 2: Water Sure still looks pretty good.

699
00:34:30,000 --> 00:34:32,960
Speaker 1: It looks amazing. Yeah, this is nineteen eighty seven we're

700
00:34:32,960 --> 00:34:33,600
Speaker 1: talking about.

701
00:34:33,640 --> 00:34:34,759
Speaker 2: Wow was that when that came out?

702
00:34:34,880 --> 00:34:36,840
Speaker 1: Yeah? I was surprised to see that too, because that

703
00:34:36,880 --> 00:34:39,280
Speaker 1: holds out. I thought it was. Yeah, it's a good movie.

704
00:34:39,160 --> 00:34:40,640
Speaker 2: I really liked that movie.

705
00:34:40,719 --> 00:34:45,080
Speaker 1: How do you not like Ed Harris? You don't like what?

706
00:34:45,160 --> 00:34:46,239
Speaker 1: Did you not like it? Hair? No?

707
00:34:46,360 --> 00:34:47,799
Speaker 2: I like I like him as an actor. I think

708
00:34:47,800 --> 00:34:49,960
Speaker 2: a lot of people might have problems with Ed Harris

709
00:34:49,960 --> 00:34:52,279
Speaker 2: as a person. He's notoriously cantankerous.

710
00:34:53,520 --> 00:34:55,239
Speaker 1: I've never heard that, I believe it.

711
00:34:55,320 --> 00:34:58,640
Speaker 2: Sure he looks like he could yell somebody down, didn't he.

712
00:34:58,760 --> 00:35:01,920
Speaker 1: Sure, But he also keeps a cool head when he's

713
00:35:01,960 --> 00:35:04,960
Speaker 1: an actor as a seventies or sixties NASA guy.

714
00:35:05,120 --> 00:35:08,480
Speaker 2: Hey, I love that, Harris. All right, let's take another break, okay,

715
00:35:08,640 --> 00:35:11,360
Speaker 2: and we're going to come back and talk a little

716
00:35:11,360 --> 00:35:41,200
Speaker 2: bit about Star Wars episode whatever right after this. Okay,

717
00:35:41,280 --> 00:35:43,480
Speaker 2: we're back, and we should talk. We should mention the

718
00:35:43,520 --> 00:35:47,719
Speaker 2: garbage Matt real quick, because that is a big deal.

719
00:35:47,719 --> 00:35:49,799
Speaker 2: A lot of times you have wire work or you

720
00:35:49,880 --> 00:35:55,279
Speaker 2: have you have things hanging from wires. It doesn't have

721
00:35:55,320 --> 00:35:57,840
Speaker 2: to be a person. It can be like a model

722
00:35:57,880 --> 00:36:00,680
Speaker 2: plane or a tie fighter or whatever. You got to

723
00:36:00,680 --> 00:36:03,080
Speaker 2: get rid of those wires unless you're ed.

724
00:36:03,120 --> 00:36:06,560
Speaker 1: Would you can't have fishing line, No, you're supposed to not,

725
00:36:06,760 --> 00:36:07,759
Speaker 1: but yes, Or if.

726
00:36:07,680 --> 00:36:09,839
Speaker 2: You're Charlie's thrown in mad Max Ferry Road, you got

727
00:36:09,880 --> 00:36:12,399
Speaker 2: to get it rid of that arm. Or if you're

728
00:36:12,400 --> 00:36:14,320
Speaker 2: in Forrest Gump, you got to get rid of Lieutenant

729
00:36:14,360 --> 00:36:15,080
Speaker 2: Dan's legs.

730
00:36:15,800 --> 00:36:18,719
Speaker 1: Man. That was amazing. That was the first time anybody's

731
00:36:18,760 --> 00:36:21,000
Speaker 1: ever done really something like that throughout.

732
00:36:21,640 --> 00:36:24,680
Speaker 2: Yeah, I have my problems with that movie for sure,

733
00:36:24,800 --> 00:36:27,680
Speaker 2: and one of them is I think he way over it.

734
00:36:27,680 --> 00:36:29,399
Speaker 2: He was like a Kidney candy store and way over

735
00:36:29,480 --> 00:36:32,240
Speaker 2: did the like and now Forrest is in the White

736
00:36:32,239 --> 00:36:35,520
Speaker 2: House and using archival footage and sticking Forest in it.

737
00:36:35,880 --> 00:36:38,839
Speaker 1: Yeah, that whole half hour dialogue he has with Peter

738
00:36:38,960 --> 00:36:42,880
Speaker 1: Cushing's ghost, it was uncanny.

739
00:36:45,400 --> 00:36:48,120
Speaker 2: But I get it. I get why these filmmakers get excited,

740
00:36:48,160 --> 00:36:51,120
Speaker 2: these really technical wizards. Well, you get a new technique

741
00:36:51,120 --> 00:36:52,040
Speaker 2: and they just hammer it.

742
00:36:52,200 --> 00:36:54,680
Speaker 1: The guy from Industrial Light and Magic when they made

743
00:36:55,080 --> 00:36:59,160
Speaker 1: the first Star Wars call it what you will. His

744
00:36:59,280 --> 00:37:03,160
Speaker 1: name was I think John Dykstra, and this motion controlled

745
00:37:03,360 --> 00:37:08,080
Speaker 1: camera assembly that they created was called Diystra Flex super

746
00:37:08,120 --> 00:37:10,879
Speaker 1: groundbreaking and they really did amazing stuff with it. Well,

747
00:37:10,960 --> 00:37:13,759
Speaker 1: he's like a legend in this industry now, and I

748
00:37:13,800 --> 00:37:15,920
Speaker 1: saw an interview with him recently and he was like,

749
00:37:16,000 --> 00:37:20,600
Speaker 1: I'm so tired of seeing just whole cities leveled and

750
00:37:20,640 --> 00:37:23,640
Speaker 1: like just the most amazing stuff you can possibly think

751
00:37:23,680 --> 00:37:28,160
Speaker 1: of being done just because we can do it. He

752
00:37:28,600 --> 00:37:31,640
Speaker 1: put it really, really well. I think it's an embarrassment

753
00:37:31,640 --> 00:37:34,840
Speaker 1: of riches, you know, like it can be done, so

754
00:37:34,880 --> 00:37:37,680
Speaker 1: it's being done everybody's doing it. It's just you know,

755
00:37:37,840 --> 00:37:42,640
Speaker 1: like and it makes it less amazing, not necessarily because

756
00:37:42,640 --> 00:37:44,680
Speaker 1: it looks bad. It just keeps looking better and better

757
00:37:44,719 --> 00:37:47,200
Speaker 1: every time. Like if you if you look at Charlie

758
00:37:47,280 --> 00:37:53,000
Speaker 1: Stern's prosthetic arm or missing army compared with Lieutenant Dan's

759
00:37:53,000 --> 00:37:56,800
Speaker 1: missing legs, looks different. It does, So it's getting better.

760
00:37:57,320 --> 00:37:59,160
Speaker 1: There's just too much of it, I think is the

761
00:37:59,239 --> 00:38:02,920
Speaker 1: point just to be all ed harrisy on this now.

762
00:38:03,000 --> 00:38:06,200
Speaker 2: I have long predicted a return to practical effects, really,

763
00:38:06,239 --> 00:38:08,040
Speaker 2: and it's starting to happen a little bit more and more.

764
00:38:08,160 --> 00:38:11,239
Speaker 1: Yeah, I could see starting with indie filmmakers, Yeah, for sure,

765
00:38:11,280 --> 00:38:17,560
Speaker 1: which is funny because finally computer generated effects have trickled

766
00:38:17,600 --> 00:38:20,080
Speaker 1: down enough. Yeah, like you or I could just walk

767
00:38:20,120 --> 00:38:22,520
Speaker 1: out of the studio and probably get on any one

768
00:38:22,520 --> 00:38:25,680
Speaker 1: of those backs out there and use stuff that ten

769
00:38:25,760 --> 00:38:29,240
Speaker 1: fifteen years ago, when we've lost five hundred thousand dollars

770
00:38:29,320 --> 00:38:30,560
Speaker 1: to set up a rig like that.

771
00:38:30,800 --> 00:38:33,400
Speaker 2: Yeah, And that's how some young filmmakers have gotten noticed

772
00:38:33,480 --> 00:38:37,240
Speaker 2: is by making these short films with like zero money

773
00:38:37,360 --> 00:38:40,160
Speaker 2: on their computer that get a lot of action on

774
00:38:40,200 --> 00:38:43,080
Speaker 2: YouTube because it looks so amazing, and the studio will

775
00:38:43,120 --> 00:38:45,799
Speaker 2: be like, sign that person up. Yeah, I can't remember

776
00:38:45,800 --> 00:38:48,080
Speaker 2: the guy's name, but that's happened a couple of times

777
00:38:48,120 --> 00:38:53,319
Speaker 2: in recent years, Ed Harris, we should talk about a

778
00:38:53,360 --> 00:38:56,800
Speaker 2: few of the groundbreaking people over the years. Oh yes,

779
00:38:58,080 --> 00:38:59,680
Speaker 2: we'll go through these a little quicker than what we

780
00:38:59,719 --> 00:39:02,000
Speaker 2: have in front of us, I think, but we should

781
00:39:02,040 --> 00:39:07,320
Speaker 2: mention Lon Cheney. Sure, one of the original superstars of

782
00:39:07,400 --> 00:39:10,200
Speaker 2: film in the Silent era, the Man of a thousand Faces.

783
00:39:10,880 --> 00:39:14,160
Speaker 2: He was. He was very talented doing his own makeup

784
00:39:14,200 --> 00:39:16,879
Speaker 2: and changing his face. That's why he's called the Man

785
00:39:16,880 --> 00:39:18,120
Speaker 2: of one thousand faces.

786
00:39:18,600 --> 00:39:21,920
Speaker 1: Right, He's like, here's nine hundred and ninety seven.

787
00:39:22,320 --> 00:39:23,520
Speaker 2: What about Willis O'Brien.

788
00:39:24,000 --> 00:39:27,600
Speaker 1: He was one of the pioneers of stop motion photography. Again,

789
00:39:27,640 --> 00:39:30,600
Speaker 1: if you're a California Racins fan, you have a lot

790
00:39:30,640 --> 00:39:32,120
Speaker 1: to thank Willis O'Brien for.

791
00:39:32,360 --> 00:39:32,720
Speaker 2: Yeah.

792
00:39:32,760 --> 00:39:36,239
Speaker 1: He also this dude, the stuff he did. I mean,

793
00:39:36,280 --> 00:39:38,200
Speaker 1: if you look back, he did King Kong, the nineteen

794
00:39:38,239 --> 00:39:40,480
Speaker 1: thirty three King Kong. Yeah, and if you look back

795
00:39:40,480 --> 00:39:44,640
Speaker 1: at this, you're like, this is this is cool? But

796
00:39:44,719 --> 00:39:48,239
Speaker 1: if you research what was done to create this, you're

797
00:39:48,360 --> 00:39:49,719
Speaker 1: just blown away by it.

798
00:39:49,880 --> 00:39:55,000
Speaker 2: Yeah. Again, many processes coming together to create that nineteen

799
00:39:55,040 --> 00:39:57,920
Speaker 2: thirty three version of King Kong. And that fight looks

800
00:39:57,960 --> 00:40:01,399
Speaker 2: good still, I mean it DOESN'TOK realistic, No, consider the year,

801
00:40:01,440 --> 00:40:02,080
Speaker 2: it looks awesome.

802
00:40:02,160 --> 00:40:04,520
Speaker 1: It does. And it's about three and a half minutes

803
00:40:04,560 --> 00:40:08,879
Speaker 1: long King Kong fighting the Tyrannosaurus recks. But it took

804
00:40:08,920 --> 00:40:12,240
Speaker 1: seven weeks to film, Yeah, because there's twenty four frames

805
00:40:13,040 --> 00:40:17,320
Speaker 1: shot per second in a film, and for every frame,

806
00:40:17,960 --> 00:40:22,440
Speaker 1: they moved the models a little bit here or there. Yeah,

807
00:40:22,480 --> 00:40:25,440
Speaker 1: so that's why it took seven weeks just for that

808
00:40:25,440 --> 00:40:27,640
Speaker 1: fight scene. I think it was fifty five weeks for

809
00:40:27,760 --> 00:40:30,719
Speaker 1: all of the stop motion photography that was done in

810
00:40:30,719 --> 00:40:31,280
Speaker 1: that movie.

811
00:40:31,719 --> 00:40:33,160
Speaker 2: Yeah, that's impressive.

812
00:40:33,320 --> 00:40:35,760
Speaker 1: It really is impressive, especially when you realize the trouble

813
00:40:35,800 --> 00:40:37,279
Speaker 1: they went to when you go back and watch it,

814
00:40:37,400 --> 00:40:38,640
Speaker 1: like this is pretty nuts.

815
00:40:38,840 --> 00:40:42,320
Speaker 2: Yeah. Ray Harry Housen continued the work of Willis O'Brien

816
00:40:42,960 --> 00:40:45,279
Speaker 2: and very famously in like the fifties and sixties with

817
00:40:45,320 --> 00:40:47,480
Speaker 2: movies like Jason and the Argonauts.

818
00:40:47,000 --> 00:40:49,720
Speaker 1: And Clash of the Titans. Yeah, I remember Medusa sure,

819
00:40:50,040 --> 00:40:50,880
Speaker 1: Scary Lady.

820
00:40:51,040 --> 00:40:52,719
Speaker 2: Yeah, that had to be toward the end of his career,

821
00:40:52,719 --> 00:40:53,960
Speaker 2: I guess, because that was in the eighties.

822
00:40:54,080 --> 00:40:57,239
Speaker 1: Yeah, I think like eighty one maybe remember the Minute

823
00:40:57,280 --> 00:40:59,400
Speaker 1: Tar two Man. That was cool movie.

824
00:40:59,440 --> 00:41:01,319
Speaker 2: That was a big movie for me as a kid.

825
00:41:01,520 --> 00:41:04,200
Speaker 1: Yeah, and I was like when La Law came along,

826
00:41:04,239 --> 00:41:06,959
Speaker 1: I was like, I know that guy. That's right, there's

827
00:41:07,000 --> 00:41:08,200
Speaker 1: the Titans guy.

828
00:41:09,800 --> 00:41:12,759
Speaker 2: We we should shout out Millicent Patrick. This is a

829
00:41:12,880 --> 00:41:16,640
Speaker 2: very interesting story. She was one of the only, well

830
00:41:16,719 --> 00:41:19,360
Speaker 2: first and only women working in special effects back in

831
00:41:19,400 --> 00:41:22,960
Speaker 2: the day, and she created the very famous mask of

832
00:41:23,160 --> 00:41:26,160
Speaker 2: the gill Man from Creature from the Black Lagoon in

833
00:41:26,200 --> 00:41:31,400
Speaker 2: the mid nineteen fifties and was unceremoniously fired.

834
00:41:31,320 --> 00:41:33,680
Speaker 1: Not just fired, stricken from the credits.

835
00:41:33,880 --> 00:41:36,439
Speaker 2: Yeah, this guy named Bud Wes Moore, he assisted her

836
00:41:37,040 --> 00:41:40,160
Speaker 2: and then basically had her fired rather than give her

837
00:41:40,200 --> 00:41:42,880
Speaker 2: the credit for the mask, which he would take credit for.

838
00:41:42,760 --> 00:41:44,960
Speaker 1: Because I think he was the supervisor in charge of

839
00:41:44,960 --> 00:41:46,640
Speaker 1: effects or costume or something.

840
00:41:46,719 --> 00:41:48,920
Speaker 2: Oh I thought, I guess he assisted her, but he

841
00:41:49,040 --> 00:41:49,600
Speaker 2: was her boss.

842
00:41:49,880 --> 00:41:53,279
Speaker 1: Yeah, okay, but like she very clearly on her own

843
00:41:53,400 --> 00:41:55,880
Speaker 1: came up with the gill man for yeah, the creature

844
00:41:55,880 --> 00:41:56,719
Speaker 1: from the And this has.

845
00:41:56,640 --> 00:41:59,359
Speaker 2: Only come out in the last few years. They've kind

846
00:41:59,360 --> 00:42:04,279
Speaker 2: of dug up the original stuff. And yeah, sexism just

847
00:42:04,400 --> 00:42:07,840
Speaker 2: basically pushed her out of the industry altogether. Yeah, very sad.

848
00:42:08,040 --> 00:42:10,200
Speaker 1: She's starting to get her due now though, which is good.

849
00:42:10,360 --> 00:42:11,279
Speaker 2: Yeah, that is very good.

850
00:42:12,360 --> 00:42:14,760
Speaker 1: There's Dick Smith was amazing.

851
00:42:15,000 --> 00:42:16,000
Speaker 2: He created the squib.

852
00:42:16,760 --> 00:42:19,879
Speaker 1: Oh really, yeah, he's a he's a very famous makeup artist.

853
00:42:19,960 --> 00:42:21,960
Speaker 1: He's really good at making people look aged.

854
00:42:22,640 --> 00:42:26,120
Speaker 2: Yeah. He made forty seven year old Marlon Brando look

855
00:42:26,560 --> 00:42:30,319
Speaker 2: much over five than The Godfather. Oh yeah, yeah, he

856
00:42:30,320 --> 00:42:32,400
Speaker 2: was only he was a year younger than me. Brando.

857
00:42:32,920 --> 00:42:33,799
Speaker 1: I never thought about that.

858
00:42:33,880 --> 00:42:34,279
Speaker 2: That nuts.

859
00:42:34,280 --> 00:42:36,720
Speaker 1: Wow. He really is good. He also did Death Becomes

860
00:42:36,719 --> 00:42:40,040
Speaker 1: Her which is one of the all time great movies, yeah.

861
00:42:39,480 --> 00:42:41,719
Speaker 2: For sure. And The Exorcist yep, and.

862
00:42:41,760 --> 00:42:45,240
Speaker 1: Scanners and have you ever seen Ghost Story from nineteen

863
00:42:45,239 --> 00:42:48,120
Speaker 1: eighty one? Oh yeah, yeah, very scary movie. The old

864
00:42:48,160 --> 00:42:49,680
Speaker 1: dudes he did, he did that?

865
00:42:50,760 --> 00:42:54,080
Speaker 2: What else? Very famously aged Dustin Hoffmann little big Man

866
00:42:54,640 --> 00:42:55,800
Speaker 2: by many many years.

867
00:42:56,000 --> 00:42:56,320
Speaker 1: Sure.

868
00:42:56,840 --> 00:43:01,960
Speaker 2: And then in the last like twenty five thirty years,

869
00:43:03,040 --> 00:43:05,040
Speaker 2: Rick Baker and Stan Winston.

870
00:43:05,160 --> 00:43:07,560
Speaker 1: Stan Winston's He's got my vote.

871
00:43:07,680 --> 00:43:12,360
Speaker 2: Yeah, I mean these two guys were both just creative

872
00:43:12,400 --> 00:43:16,959
Speaker 2: leaders in the industry and trailblazers in the industry. And

873
00:43:17,400 --> 00:43:20,759
Speaker 2: as Ed says in here, like mentored a generation of

874
00:43:21,000 --> 00:43:25,440
Speaker 2: special effects employees, employees, creators, artists.

875
00:43:25,719 --> 00:43:29,160
Speaker 1: Sure, all three of those Lord gig workers.

876
00:43:29,960 --> 00:43:33,000
Speaker 2: Rick Baker American Werewolf in London in nineteen eighty one,

877
00:43:33,000 --> 00:43:36,560
Speaker 2: which still holds up. The thriller video in nineteen eighty three,

878
00:43:36,719 --> 00:43:39,280
Speaker 2: star Wars Moss Isley Cantina.

879
00:43:39,320 --> 00:43:41,600
Speaker 1: He made all those Yeah, did you know that about

880
00:43:41,600 --> 00:43:44,600
Speaker 1: the Moss Eisley Cantina. Sure, I didn't know that. He

881
00:43:44,760 --> 00:43:47,719
Speaker 1: was almost single handily respondib Yeah, for all of them.

882
00:43:47,800 --> 00:43:50,000
Speaker 2: And then stan Winston. You got to talk about movies

883
00:43:50,040 --> 00:43:53,120
Speaker 2: like The Thing and Predator and Terminator and they both

884
00:43:53,120 --> 00:43:55,520
Speaker 2: have set up, you know, foundations and schools and things

885
00:43:55,560 --> 00:43:55,839
Speaker 2: like that.

886
00:43:56,160 --> 00:44:00,680
Speaker 1: Stan Winston also did the makeup for what I think

887
00:44:00,760 --> 00:44:03,840
Speaker 1: is maybe the best slash film of all time, Friday

888
00:44:03,840 --> 00:44:04,839
Speaker 1: the Thirteenth Part two.

889
00:44:05,840 --> 00:44:08,800
Speaker 2: Yeah, two was when Jason comes along, right, Yes.

890
00:44:08,840 --> 00:44:11,440
Speaker 1: It's Jason before he got his mask. He gets his

891
00:44:11,560 --> 00:44:14,239
Speaker 1: mask in three. I think the Fria thirteenth franchise is

892
00:44:14,239 --> 00:44:15,800
Speaker 1: as good as it gets for horror movies.

893
00:44:16,040 --> 00:44:17,919
Speaker 2: I dropped off at a certain point. Did you see

894
00:44:17,920 --> 00:44:18,439
Speaker 2: all those?

895
00:44:18,680 --> 00:44:20,520
Speaker 1: No? No, I still haven't seen all of them, but

896
00:44:20,680 --> 00:44:24,840
Speaker 1: even just putting like the first five or six up. Yeah.

897
00:44:24,920 --> 00:44:27,440
Speaker 1: I think it's like watching him again as an adult.

898
00:44:27,520 --> 00:44:30,400
Speaker 1: I'm like, these are really good. Yeah, Fisher films like

899
00:44:30,440 --> 00:44:34,080
Speaker 1: even better than I remember for Me and a kid. Yeah,

900
00:44:34,160 --> 00:44:36,800
Speaker 1: And the reason Stan Winston filled in for Friday the

901
00:44:36,840 --> 00:44:39,120
Speaker 1: Thirteenth Part two is because the guy who did Friday

902
00:44:39,200 --> 00:44:42,920
Speaker 1: Thirteenth the first one, Tom Savini, was unavailable. He was

903
00:44:42,960 --> 00:44:46,520
Speaker 1: off doing Creep Show, I believe. But Tom Savini's another legend.

904
00:44:46,680 --> 00:44:50,200
Speaker 2: I think they're redoing creep Show, are they Okay? I'd

905
00:44:50,200 --> 00:44:53,719
Speaker 2: watched that different stories? Oh even better, I think, if

906
00:44:53,719 --> 00:44:56,279
Speaker 2: I'm not mistaken. Nice, But yeah, Savini is well known

907
00:44:56,320 --> 00:44:59,520
Speaker 2: for being sort of the godfather of Gore.

908
00:44:59,680 --> 00:45:01,879
Speaker 1: Yeah, he did Maniac Do you everous see that?

909
00:45:02,040 --> 00:45:02,320
Speaker 2: Yeah?

910
00:45:02,480 --> 00:45:05,600
Speaker 1: That was off the Rocker movie.

911
00:45:06,239 --> 00:45:10,880
Speaker 2: And then these days there are companies ILM and WETA.

912
00:45:11,320 --> 00:45:15,239
Speaker 2: ILM Industrial Light and Magic is Lucas's company, and they're

913
00:45:15,280 --> 00:45:21,080
Speaker 2: cool because they invented this stuff because Lucas needed stuff

914
00:45:21,120 --> 00:45:23,040
Speaker 2: to be done that couldn't be done right, and he

915
00:45:23,160 --> 00:45:25,239
Speaker 2: was like, go figure out how to do it, and

916
00:45:25,280 --> 00:45:27,879
Speaker 2: they did, they really did. And then WETA is Peter

917
00:45:28,120 --> 00:45:31,920
Speaker 2: Jackson's company, and he's the one that has really pioneered

918
00:45:31,960 --> 00:45:34,600
Speaker 2: the mo cap the motion capture techniques.

919
00:45:35,040 --> 00:45:37,799
Speaker 1: Where a person's wearing like a suit and the suit

920
00:45:37,840 --> 00:45:40,359
Speaker 1: has a bunch of different kind of like almost ping

921
00:45:40,440 --> 00:45:43,440
Speaker 1: pong balls all over it. Yeah, at like joints and

922
00:45:43,560 --> 00:45:47,600
Speaker 1: crucial places where the body moves and the actor, stunt

923
00:45:47,600 --> 00:45:50,719
Speaker 1: person or dance or whoever wearing the suit goes through

924
00:45:50,760 --> 00:45:52,120
Speaker 1: the motions and.

925
00:45:52,040 --> 00:45:53,960
Speaker 2: Then they're just going through the motions.

926
00:45:54,000 --> 00:45:57,640
Speaker 1: Sure, and that those motions that what's captured is fed

927
00:45:57,680 --> 00:46:00,600
Speaker 1: into a computer and the computer generates a character doing

928
00:46:00,600 --> 00:46:03,040
Speaker 1: all those same motions, creating the performance. But it's a

929
00:46:03,040 --> 00:46:04,959
Speaker 1: computer generated character. Yeah.

930
00:46:04,960 --> 00:46:07,480
Speaker 2: I don't think he was the first, but the Gollum

931
00:46:07,560 --> 00:46:11,080
Speaker 2: character in those Lord of the Rings movies was really

932
00:46:11,080 --> 00:46:15,600
Speaker 2: one of the first, really terrific looking fully CGI character.

933
00:46:15,920 --> 00:46:19,200
Speaker 1: Yeah, I found, from what I could tell, the first

934
00:46:19,760 --> 00:46:23,520
Speaker 1: full CGI character ever in a movie. You want to guess,

935
00:46:23,560 --> 00:46:24,360
Speaker 1: you'll never guess.

936
00:46:25,280 --> 00:46:27,440
Speaker 2: Well, I mean it's touted as Indiana Jones and the

937
00:46:27,520 --> 00:46:31,600
Speaker 2: Last Crusade. Wrong, Really, what is it going to be?

938
00:46:31,640 --> 00:46:36,359
Speaker 1: It's another Spielberg movie. Okay, it's young Sherlock Holmes. Well,

939
00:46:36,360 --> 00:46:38,400
Speaker 1: do you remember the Stained Glass Night that comes to

940
00:46:38,480 --> 00:46:41,400
Speaker 1: life and tries to slash one of them with his sword?

941
00:46:42,320 --> 00:46:47,040
Speaker 1: First full CGI character in a movie. Well why, I

942
00:46:47,080 --> 00:46:49,239
Speaker 1: don't know, but that's what I could find. And that

943
00:46:49,280 --> 00:46:50,520
Speaker 1: one's from nineteen eighty five.

944
00:46:51,440 --> 00:46:56,160
Speaker 2: Well it says maybe there's it's in the nitpicky language

945
00:46:56,200 --> 00:47:01,360
Speaker 2: because in the Last Crusade, when Walter Donovan's face melts

946
00:47:01,480 --> 00:47:03,920
Speaker 2: and turns to dust when he drinks from the jalice.

947
00:47:03,920 --> 00:47:07,120
Speaker 1: That's in. That's in Writers of the Lost Arc, isn't it.

948
00:47:07,239 --> 00:47:08,080
Speaker 1: Oh no, you're right, you're right.

949
00:47:09,320 --> 00:47:12,319
Speaker 2: It says here it was the first ever digital composite

950
00:47:12,680 --> 00:47:14,600
Speaker 2: of a full screen live action image.

951
00:47:15,719 --> 00:47:17,120
Speaker 1: There's something in the language there.

952
00:47:17,920 --> 00:47:20,840
Speaker 2: It was a full screen or something. This was the gotcha.

953
00:47:20,960 --> 00:47:25,120
Speaker 1: This was the first CGI, but it wasn't the first

954
00:47:25,440 --> 00:47:29,239
Speaker 1: CGI image. This is the first moving CGI image. The

955
00:47:29,239 --> 00:47:32,880
Speaker 1: first CGI image was in Looker. Remember that movie.

956
00:47:33,040 --> 00:47:36,560
Speaker 2: I totally saw Looker. Yeah, that was a big HBO movie.

957
00:47:36,360 --> 00:47:39,240
Speaker 1: For me for sure. Same here. It was Looker Runaway.

958
00:47:39,480 --> 00:47:42,839
Speaker 2: Uh huh, Kroll Runaway. It's Tom Selleck, yeah, and Gene

959
00:47:42,880 --> 00:47:45,799
Speaker 2: Simmons in the bad Guy's right, that's all Kroll a

960
00:47:45,800 --> 00:47:49,160
Speaker 2: lot too. Oh yeah, Looker had Albert Finnie, right, if

961
00:47:49,160 --> 00:47:50,239
Speaker 2: I remember correctly.

962
00:47:49,920 --> 00:47:51,359
Speaker 1: Albert Finnie and Susan Day.

963
00:47:51,480 --> 00:47:52,439
Speaker 2: Yeah, Susan Day.

964
00:47:53,000 --> 00:47:54,640
Speaker 1: Yeah, written by Michael Crichton.

965
00:47:54,680 --> 00:47:57,160
Speaker 2: I think that was the first full body three D human,

966
00:47:57,280 --> 00:48:00,759
Speaker 2: but it did not move. It was static. And the

967
00:48:00,880 --> 00:48:06,439
Speaker 2: very first computer generated effects period, funny enough, were used

968
00:48:06,440 --> 00:48:10,080
Speaker 2: to replicate computer screen. So whenever you would see a

969
00:48:10,080 --> 00:48:13,760
Speaker 2: computer screen in like Westworld or Aliens or Star Wars,

970
00:48:14,400 --> 00:48:16,200
Speaker 2: and they were like, what is the computer going to

971
00:48:16,280 --> 00:48:17,200
Speaker 2: look like? You know?

972
00:48:17,320 --> 00:48:17,400
Speaker 1: Not?

973
00:48:17,600 --> 00:48:21,160
Speaker 2: Now, that was the first time they used computer generated

974
00:48:21,200 --> 00:48:24,280
Speaker 2: imaging was to yeah, make a fake computer screen.

975
00:48:24,600 --> 00:48:28,960
Speaker 1: And the first full CGI scene ever done was in

976
00:48:29,000 --> 00:48:31,400
Speaker 1: The Wrath of Khan, which I believe came out in

977
00:48:31,440 --> 00:48:35,280
Speaker 1: nineteen eighty two. But there's a genesis like Earth being

978
00:48:35,360 --> 00:48:38,279
Speaker 1: you know, like cooling and turning into the Earth, and

979
00:48:38,320 --> 00:48:41,799
Speaker 1: there's this amazing shots around it. That's all CGI. And

980
00:48:41,840 --> 00:48:45,600
Speaker 1: that was the first one, and Tron I thought for

981
00:48:45,640 --> 00:48:48,920
Speaker 1: sure Tron would have been among the first. Apparently most

982
00:48:48,960 --> 00:48:52,560
Speaker 1: of that was animated by humans, not computers. That's right,

983
00:48:52,920 --> 00:48:56,400
Speaker 1: The like all the glowing lines, all that stuff animated,

984
00:48:56,680 --> 00:48:59,360
Speaker 1: which makes it nuts that they were able to create that.

985
00:48:59,640 --> 00:49:03,600
Speaker 2: Yeah. Now the big thing is this de aging technique

986
00:49:03,600 --> 00:49:04,920
Speaker 2: that they're getting better and better.

987
00:49:05,120 --> 00:49:05,920
Speaker 1: Yeah, they really are.

988
00:49:06,400 --> 00:49:09,600
Speaker 2: Yeah, So the new Scorsese picked the Irishman I think

989
00:49:09,719 --> 00:49:12,040
Speaker 2: d ages and it has taken a long time to

990
00:49:12,040 --> 00:49:14,239
Speaker 2: get out because it's the d aging didn't look good

991
00:49:14,320 --> 00:49:18,000
Speaker 2: enough for Scorsese, so they have d aged de Naro.

992
00:49:18,040 --> 00:49:21,760
Speaker 2: And then I saw this new Angle movie Gemini Man,

993
00:49:22,360 --> 00:49:26,480
Speaker 2: where Will Smith of now he plays an assassin and

994
00:49:26,520 --> 00:49:31,359
Speaker 2: he has to go kill his younger self Looper. Uh yeah,

995
00:49:31,440 --> 00:49:33,960
Speaker 2: sort of like Looper, I guess. But this Gemini Man

996
00:49:34,040 --> 00:49:36,080
Speaker 2: script has been in development for like twenty five years

997
00:49:36,080 --> 00:49:38,040
Speaker 2: with various people attached, but they could never do.

998
00:49:38,040 --> 00:49:39,280
Speaker 1: It because of the technology.

999
00:49:39,600 --> 00:49:42,160
Speaker 2: Yeah huh, it's finally here. But here's the thing I

1000
00:49:42,160 --> 00:49:44,960
Speaker 2: didn't know. Like, I've seen this trailer and I'm like, man,

1001
00:49:45,000 --> 00:49:47,680
Speaker 2: that the aging looks great. They didn'td agent. It is

1002
00:49:47,719 --> 00:49:49,400
Speaker 2: a fully cgi Will Smith.

1003
00:49:50,080 --> 00:49:52,080
Speaker 1: Oh and it looks that really the younger.

1004
00:49:51,880 --> 00:49:54,000
Speaker 2: Version is yeah wow. So I was like, man, they're

1005
00:49:54,000 --> 00:49:56,680
Speaker 2: getting so good at the dh that's amazing. So he

1006
00:49:56,719 --> 00:50:00,479
Speaker 2: mowcapped his whole performance motion captured and they just used

1007
00:50:00,719 --> 00:50:03,200
Speaker 2: fresh prints photos.

1008
00:50:02,920 --> 00:50:05,600
Speaker 1: And they just basically deep fake them.

1009
00:50:05,520 --> 00:50:08,560
Speaker 2: Sort of have you seen the Bill Hayter deep fake

1010
00:50:08,600 --> 00:50:12,600
Speaker 2: that's going around now. It's pretty cool. Yeah, because he

1011
00:50:12,680 --> 00:50:16,759
Speaker 2: goes from Hater to Tom Cruise, to seth Rogan back

1012
00:50:16,800 --> 00:50:18,839
Speaker 2: to Tom Cruise. It's like kind of all over the place.

1013
00:50:19,160 --> 00:50:20,840
Speaker 1: It really well done.

1014
00:50:21,600 --> 00:50:23,720
Speaker 2: And then you know, like we said, they use CGI

1015
00:50:24,160 --> 00:50:27,440
Speaker 2: for so many movies, little mistakes that can be corrected,

1016
00:50:27,880 --> 00:50:30,120
Speaker 2: little things that it's just much cheaper to add digitally

1017
00:50:30,200 --> 00:50:33,680
Speaker 2: later on. It could be a movie that, like I said,

1018
00:50:33,760 --> 00:50:36,880
Speaker 2: looks like it has no CGI whatsoever, and it's cheaper

1019
00:50:36,920 --> 00:50:39,600
Speaker 2: to put a plate of food in the background digitally

1020
00:50:39,680 --> 00:50:43,160
Speaker 2: than cook the food and put it on set, which

1021
00:50:43,200 --> 00:50:46,200
Speaker 2: is that's a bad example. Or you can color grate

1022
00:50:46,239 --> 00:50:48,919
Speaker 2: a movie you completely change like the movie Oh Brother,

1023
00:50:48,960 --> 00:50:52,920
Speaker 2: where Art Thou has that yellow hue for everything, all

1024
00:50:52,920 --> 00:50:54,640
Speaker 2: that stuff is green. You know, they're in the Deep

1025
00:50:54,680 --> 00:50:56,160
Speaker 2: South in the summertime, and.

1026
00:50:56,120 --> 00:50:58,759
Speaker 1: They used to have to like film it at some

1027
00:50:58,840 --> 00:51:02,760
Speaker 1: weird exposure, then projected at another exposure to some filter,

1028
00:51:02,920 --> 00:51:06,719
Speaker 1: and then re the whole thing on an optical negative. Yeah,

1029
00:51:06,960 --> 00:51:10,120
Speaker 1: now they can just do it all with a computer, easypasy.

1030
00:51:10,200 --> 00:51:14,200
Speaker 2: It's great. Anything else, I'm kind of looking around, but

1031
00:51:14,920 --> 00:51:18,280
Speaker 2: this is like one eighth of this topic.

1032
00:51:18,440 --> 00:51:22,240
Speaker 1: Yeah, hopefully it made you appreciate movies more. Yeah, you

1033
00:51:22,320 --> 00:51:28,040
Speaker 1: specifically me, I know you love the movies. Sure, if

1034
00:51:28,080 --> 00:51:30,120
Speaker 1: you want to know more about movies, go listen to

1035
00:51:30,200 --> 00:51:33,279
Speaker 1: Chuck's podcast movie Crush. You'll love it. Hey. Thanks, And

1036
00:51:33,400 --> 00:51:35,840
Speaker 1: since I said movie Crush, it's time for listener mail.

1037
00:51:38,600 --> 00:51:40,520
Speaker 2: And actually, since you said movie Crush, we're about to

1038
00:51:40,520 --> 00:51:43,040
Speaker 2: release an episode on the Matrix. Oh, I hadn't seen

1039
00:51:43,080 --> 00:51:45,239
Speaker 2: that movie. It's been twenty years since it came out.

1040
00:51:45,320 --> 00:51:46,560
Speaker 1: You've never seen The Matrix.

1041
00:51:46,640 --> 00:51:48,840
Speaker 2: No, I hadn't seen it in a long time. Gotcha,

1042
00:51:49,040 --> 00:51:51,320
Speaker 2: But I didn't realize this is the twenty year anniversary.

1043
00:51:51,360 --> 00:51:57,040
Speaker 2: Watched it last night. Still totally holds up, really looks great. Fun. Yeah,

1044
00:51:57,560 --> 00:51:59,480
Speaker 2: well acted by most of the cast.

1045
00:51:59,239 --> 00:52:02,120
Speaker 1: Members who didn't act well.

1046
00:52:02,480 --> 00:52:04,880
Speaker 2: Oh, you know Ken't who always gets picked on. I

1047
00:52:04,960 --> 00:52:09,920
Speaker 2: love that guy, I know, kung Fu. He's perfect in

1048
00:52:09,920 --> 00:52:10,439
Speaker 2: that role. Though.

1049
00:52:10,560 --> 00:52:13,080
Speaker 1: Yeah, he's great. I can't imagine anybody else and it'd

1050
00:52:13,120 --> 00:52:16,520
Speaker 1: be too just too serious. I think, like, imagine Tom

1051
00:52:16,520 --> 00:52:17,880
Speaker 1: Cruise in that in the Matrix.

1052
00:52:17,920 --> 00:52:21,080
Speaker 2: Yeah, you're right. He adds a little like something light,

1053
00:52:21,200 --> 00:52:21,680
Speaker 2: doesn't he.

1054
00:52:21,680 --> 00:52:23,640
Speaker 1: Yeah, it makes it a little more every man, almost

1055
00:52:23,800 --> 00:52:25,359
Speaker 1: a little more believable in a weird way.

1056
00:52:25,600 --> 00:52:27,680
Speaker 2: So do you see those John Wick movies?

1057
00:52:29,080 --> 00:52:31,160
Speaker 1: I've seen some of it. It's just like a little

1058
00:52:31,160 --> 00:52:34,120
Speaker 1: too video gamy for me. Yeah, but I mean it's fine.

1059
00:52:35,000 --> 00:52:36,400
Speaker 1: I respect that people like it.

1060
00:52:36,560 --> 00:52:41,880
Speaker 2: Sure, here we go. Okay, it's about three D three D.

1061
00:52:41,960 --> 00:52:43,319
Speaker 2: It's about solar panels.

1062
00:52:43,560 --> 00:52:44,840
Speaker 1: I got movies on the three D.

1063
00:52:45,040 --> 00:52:46,759
Speaker 2: Got the well they are in three D. I guess

1064
00:52:47,120 --> 00:52:49,440
Speaker 2: I got movies on the brain. Hey, guys. Being a

1065
00:52:49,520 --> 00:52:51,120
Speaker 2: roof for my entire life, I never thought I'd have

1066
00:52:51,200 --> 00:52:54,600
Speaker 2: much input until now it's my time to shine. One

1067
00:52:54,600 --> 00:52:57,080
Speaker 2: thing that wasn't mentioned in the solar panel episode is

1068
00:52:57,080 --> 00:52:59,480
Speaker 2: that people really need to consider the age of their

1069
00:52:59,520 --> 00:53:01,520
Speaker 2: existing before installing solar panels.

1070
00:53:01,520 --> 00:53:02,360
Speaker 1: Oh that's a good point.

1071
00:53:02,640 --> 00:53:05,400
Speaker 2: A new residential shingle roof should last about thirty years.

1072
00:53:05,880 --> 00:53:07,960
Speaker 2: But if the roof isn't nearly new, I would not

1073
00:53:08,080 --> 00:53:10,200
Speaker 2: suggest installing solar panels.

1074
00:53:09,880 --> 00:53:13,680
Speaker 1: And definitely don't install it if the roof the roof

1075
00:53:13,719 --> 00:53:14,400
Speaker 1: is on fire.

1076
00:53:14,840 --> 00:53:18,200
Speaker 2: Once the panels are installed, roof repairs or replacement is

1077
00:53:18,360 --> 00:53:21,400
Speaker 2: very difficult and much more expensive. If the life of

1078
00:53:21,400 --> 00:53:24,759
Speaker 2: the roof ends before the solar panels die, you can

1079
00:53:24,800 --> 00:53:27,840
Speaker 2: easily add fifty to seventy five percent or more to

1080
00:53:27,920 --> 00:53:30,880
Speaker 2: the cost of the reroofing due to the added labor

1081
00:53:30,960 --> 00:53:34,279
Speaker 2: costs to remove and reinstall the panels. Yeah, don't you

1082
00:53:34,320 --> 00:53:37,160
Speaker 2: think about that? So you should align it ideally with

1083
00:53:37,440 --> 00:53:41,120
Speaker 2: your new roof. Sure, I do mostly commercial roofing. Can't

1084
00:53:41,120 --> 00:53:42,719
Speaker 2: tell you the number of customers so I talked to

1085
00:53:42,840 --> 00:53:45,399
Speaker 2: had solar panels on an old roof and are now

1086
00:53:45,400 --> 00:53:49,680
Speaker 2: paying through the nose for repairs or replacement. Reputable solar

1087
00:53:49,719 --> 00:53:53,920
Speaker 2: panel specialists should have this roof conversation with a potential

1088
00:53:53,960 --> 00:53:57,160
Speaker 2: customer before installing the panels if I'm afraid it doesn't

1089
00:53:57,200 --> 00:54:02,160
Speaker 2: always happen or customers underestimates the added reroofing cost once

1090
00:54:02,160 --> 00:54:02,880
Speaker 2: they're installed.

1091
00:54:03,200 --> 00:54:04,960
Speaker 1: Man, this is a great PSA.

1092
00:54:05,239 --> 00:54:07,120
Speaker 2: It is thanks again for what you guys do. I'm

1093
00:54:07,120 --> 00:54:09,480
Speaker 2: in my truck a lot driving to different job sites

1094
00:54:09,840 --> 00:54:13,120
Speaker 2: and it's always easier on Tuesday through Thursday. I want

1095
00:54:13,120 --> 00:54:15,040
Speaker 2: to have a new stuff you should know and that

1096
00:54:15,160 --> 00:54:17,879
Speaker 2: is from Owen Sinsinik.

1097
00:54:18,600 --> 00:54:22,760
Speaker 1: Great name first and last. Yep, love the name Owen.

1098
00:54:23,600 --> 00:54:28,680
Speaker 1: Stephen King's kids name them Yeah, Owen King. Thanks a lot, Owen.

1099
00:54:28,719 --> 00:54:31,640
Speaker 1: We appreciate that big time. That was a great email.

1100
00:54:31,719 --> 00:54:33,359
Speaker 1: I would have never thought about that.

1101
00:54:33,440 --> 00:54:35,880
Speaker 2: And he didn't even send his business in to be plugged.

1102
00:54:35,960 --> 00:54:38,319
Speaker 2: So just google his name and roofing and if he

1103
00:54:38,360 --> 00:54:40,440
Speaker 2: happens to live near you, use him.

1104
00:54:40,600 --> 00:54:42,360
Speaker 1: That's how dedicated this guy is.

1105
00:54:42,360 --> 00:54:43,080
Speaker 2: He sounds honest.

1106
00:54:43,640 --> 00:54:46,000
Speaker 1: Well, if you want to be a cool person like Owen,

1107
00:54:46,080 --> 00:54:47,360
Speaker 1: you can get in touch with us. You can go

1108
00:54:47,360 --> 00:54:49,080
Speaker 1: on to stuff you Should Know dot com and check

1109
00:54:49,120 --> 00:54:51,440
Speaker 1: out our social links. You can also send us an

1110
00:54:51,440 --> 00:54:57,960
Speaker 1: email to stuff podcast at iHeartRadio dot com. Stuff you

1111
00:54:57,960 --> 00:55:01,239
Speaker 1: Should Know is a production of iHeartRadio. For more podcasts

1112
00:55:01,280 --> 00:55:04,880
Speaker 1: my heart Radio, visit the iHeartRadio app, Apple Podcasts, or

1113
00:55:04,880 --> 00:55:06,680
Speaker 1: wherever you listen to your favorite shows.