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Speaker 1: Hey there, it's Jonathan Strickland, and I'm here to introduce

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Speaker 1: a playlist of ten episodes of my podcast tech Stuff

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Speaker 1: that are all about entertainment and entertainment related fields, from

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Speaker 1: video games to television series, two films to internet videos

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Speaker 1: from yesteryear. So I hope you guys enjoy these episodes.

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Speaker 1: You can go to the tech Stuff podcast page and

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Speaker 1: subscribe to listen to all sorts of episodes about tech

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Speaker 1: from all realms, and hopefully this will provide a little

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Speaker 1: bit of entertainment, a little bit of education, and probably

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Speaker 1: more than a few puns, because that's kind of how

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Speaker 1: I roll enjoy this playlist. Welcome to text Stuff, a

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Speaker 1: production from I Heart Radio. Hey there, and welcome to

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Speaker 1: tech Stuff. I'm your host, Jonathan Strickland. I'm an executive

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Speaker 1: producer at iHeart Radio, and I love all things tech

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Speaker 1: and we are going to continue our playlist on entertainment.

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Speaker 1: And this episode involves a couple of the members of

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Speaker 1: the crew for Stranger Things, the Netflix series, who came

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Speaker 1: into the office and talked about what they do in

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Speaker 1: order to make the sets work the way they're supposed

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Speaker 1: to it actually, and how they look too, and you know,

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Speaker 1: Stranger Things was set in the eighties, so getting everything

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Speaker 1: to look period appropriate, if not you know, accurate, was

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Speaker 1: a bit of a challenge, especially with all the tech.

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Speaker 1: So we're gonna take a listen to this episode. I

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

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Speaker 1: me for this episode of tech stuff, Jess and John,

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Speaker 1: who both have worked on multiple projects, but the one

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

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

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

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

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

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

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

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

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

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

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

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Speaker 1: about sort of the text side, the the behind the

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Speaker 1: scenes side of making a show and and the work

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Speaker 1: that you do and how that ends up contributing to

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Speaker 1: this overall effect whatever the show maybe or the movie,

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

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

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

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

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

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

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

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Speaker 1: of folks just don't know. The gaffer is just a

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Speaker 1: department head that's in charge of the electrical so electrical

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Speaker 1: distribution and lighting. Um. I think the term comes from

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Speaker 1: old man. Yeah, with the old man on the crew,

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Speaker 1: he's in charge of the lighting. Yeah. They have a

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Speaker 1: the term gaffer in uh and Lord of the Rings. Actually,

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Speaker 1: Sam Wise gamgees father is called the old gaffer. Uh.

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Speaker 1: I say that because of my Lord of the Rings geek.

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Speaker 1: So what are your responsibilities typically on a on a

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Speaker 1: shoot as a riding gaffer. I'd provide the power to

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Speaker 1: the set and any any lighting that we can get

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Speaker 1: up before beforehand before photography, We'll get that done as well. Cool.

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

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Speaker 1: needs to work is actually going to work. An important

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Speaker 1: role on any production and how did you get your

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

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Speaker 1: a nanny for a director of photography in eight the

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Speaker 1: summer of ninety eight, and I watched his kids during

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Speaker 1: the summer and after at the end of the summer,

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Speaker 1: he had me tag along with him to go work

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Speaker 1: on a film. And after the film, he was like, Oh,

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Speaker 1: you'd be great this. You should move to l A.

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Speaker 1: I got my friends that can hook you up at

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Speaker 1: a camera rental house and you can do that for

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Speaker 1: a little while. And I was like, I don't want

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Speaker 1: to do that. I want to move to New York

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Speaker 1: City and be a bum. So I didn't get into

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Speaker 1: it right away. I was a maintenance man and apartment

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Speaker 1: complex and all my tools were stolen, and I was like,

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Speaker 1: I'll go work on movies a security circuitous route to

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Speaker 1: get there. So did you have a background and electrical

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Speaker 1: work before you even got into the movie. I've done

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Speaker 1: like my dad does h V A C. So I

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Speaker 1: kind of dabbled on that during the whole maintenance for

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Speaker 1: apartment complex thing. I kind of understood electrical systems, right,

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

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

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Speaker 1: a a a fairly uh strenuous process to make sure

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Speaker 1: everything is how it needs to be. Because obviously any

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Speaker 1: time on any set is money, so anything that takes

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Speaker 1: extra time is going to cost the whole production extra

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Speaker 1: amounts of money. So I mentioned it's a fairly high

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Speaker 1: stress environment. It is. Yeah, Uh, I don't get a

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Speaker 1: lot of sleep. I always called Jesse will workaholic, but

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Speaker 1: really it's for me. I do it all at home

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Speaker 1: and she doesn't see it. It's fair. And now, Jess

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Speaker 1: you you were a set decorator, are still our sick

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Speaker 1: decorator for stranger things. Also, congratulations on getting an Emmy

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Speaker 1: nomination for that. Thank you. That's amazing. I at this

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Speaker 1: first time I think I've ever sat down at the

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Speaker 1: table with an Emmy nominee. Uh yeah, it's it's a

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Speaker 1: big moment for me, That's what I'm saying. So let's

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Speaker 1: talk about what that means. What is what is actually

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Speaker 1: set decorator on a set? UM? So I work under

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Speaker 1: the production designer UM, and the production designer kind of

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Speaker 1: sets the look like, helps pick locations UM and then

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Speaker 1: you know, has a lot of references and different things

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Speaker 1: as far as the minutia of how a set comes together. Um,

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Speaker 1: there's an art director who kind of oversees more the

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Speaker 1: construction end of things and then everything from like those

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Speaker 1: four walls. For the most part, I kind of deal

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Speaker 1: with so light fixtures and um, you know, carpet and

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Speaker 1: sofas and electronics and all the garbage and some sets

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Speaker 1: and piles up in the clutter. That's my specialty. So

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

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

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

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

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

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Speaker 1: that idea was right. Yes, and on a on a

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Speaker 1: production that's a period piece, I imagine that also involves

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Speaker 1: lots of hunting around for really obscure and obsolete stuff.

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Speaker 1: It does. I spend a lot of time and I

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Speaker 1: always tell everyone dead ladies, basements, the state sales. I'm

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Speaker 1: always like emptying out the leftovers of houses, you know,

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Speaker 1: um after an estate sales over um. And you know.

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Speaker 1: In Stranger Things is one of those weird shows, especially

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Speaker 1: where everything is a little bit interactive kind of which

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Speaker 1: is why, Um, that's why I wanted John to be here,

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Speaker 1: because he's I think he's sold himself short a little

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Speaker 1: bit as far as like just preparing or providing power

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Speaker 1: to a set. Because we had so many interactive elements,

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Speaker 1: you know, lights and otherwise that um kind of had

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Speaker 1: to be period and had to be functional and do

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Speaker 1: a bunch of different things. So yeah, a good example

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Speaker 1: that would be, of course, the Christmas lights make up

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Speaker 1: play a huge role in that season of Stranger Things.

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Speaker 1: I mean, it's it's a communications device, and I don't

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Speaker 1: know how many of my listeners know this. Christmas lights

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Speaker 1: don't work that way. Typically you have them all rigged

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Speaker 1: ump so that if one goes out, they all tend

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Speaker 1: to go out, especially the period ones. So getting them

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Speaker 1: so that they very they light up in very specific ways,

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Speaker 1: uh probably meant a little bit of rewiring work and

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Speaker 1: a little bit of rigging things in an interesting way

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Speaker 1: so as you could get to do it on command.

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Speaker 1: That was such an important integral part of the storyline.

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Speaker 1: I remember. I remember when they came and asked me.

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Speaker 1: They were walking through the Buyer's House set. It was

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Speaker 1: Chris and Jess and Todd and they were like, we

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Speaker 1: want to make each light go off and on d visually.

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Speaker 1: Is it possible? Yes? And I turned around and I

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Speaker 1: walked back in my little office and I was like, oh, no,

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Speaker 1: how am I gonna make this wart? Like, technically yes,

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Speaker 1: it's possible, practical not really, So so how did you

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Speaker 1: go about solving that problem? Um? I just started scribbling

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Speaker 1: a lot and locked my door and just trying to

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Speaker 1: figure out how to get lights to go on and

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Speaker 1: off individually, which means we had to build individual strands

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Speaker 1: of lights. So I ended up, I guess it's on

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Speaker 1: a low tech We're kind of getting at low tech

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Speaker 1: as possible. So I ended up using Cat five cable

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Speaker 1: and taking all the different strands and making them individual

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Speaker 1: and soldering them into old Christmas likes that Jess would

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Speaker 1: bring us. Wow. So you were actually hand designing something

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Speaker 1: so that you could achieve this effect in a practical approach.

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Speaker 1: That's one of the other things, by the way, that

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Speaker 1: I love about stranger things and being I was born

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Speaker 1: in the seventies, so seeing uh, not just something that

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Speaker 1: is set and appears to have been made in the eighties,

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Speaker 1: but to rely so heavily upon practical effects. That warms

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Speaker 1: my heart because I grew up watching films that relied

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Speaker 1: heavily on practical effects, and I think it is very

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Speaker 1: important to get across that same feel in order to

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Speaker 1: get the effect that you want and not rely too

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Speaker 1: heavily on anything that's computer generated. Not to dismiss computer generated,

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Speaker 1: it certainly has a place a storytelling, but to me,

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Speaker 1: at least in maybe this is my own bias, has uh,

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Speaker 1: it just it just has a different look and a

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Speaker 1: different feel, you know, there's something genuine about practical effects.

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Speaker 1: And not all of ours went. Uh. We had different

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Speaker 1: test runs that the Duffers for would they kill if

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Speaker 1: any of those videos ever got out. Some of the

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Speaker 1: ones that didn't work as well. Um with like the

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Speaker 1: monster coming through our latex. We have you know, printed

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Speaker 1: the wallpaper and stuff in the buyer's house onto latex,

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Speaker 1: and we had all these different tests so we did

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Speaker 1: with various um, you know, slimy substances and things on. Anyway,

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Speaker 1: they didn't all it took a while to kind of

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Speaker 1: get that just tweaked, you know, just right fashing the

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Speaker 1: surface of the wall, and originally they had him breaking

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Speaker 1: through the wall entirely. They're trying to do it all practical,

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Speaker 1: and um, I think it's nice to have technology options

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Speaker 1: where VFX could just take what we did and really

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Speaker 1: enhance it. And you know, uh right, yeah, eventually you

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Speaker 1: get to a point where you just say, you know,

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Speaker 1: physics just doesn't work that way. Yeah. Like, I like,

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Speaker 1: I appreciate where you're trying to go with this. Yeah,

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Speaker 1: I love that there was a latex approach a practical

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Speaker 1: approach with that too, because I mean I also, full disclosure,

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Speaker 1: my sister's a puppeteer, so I see the puppeteer side

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Speaker 1: of sort of this kind of stuff all the time.

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Speaker 1: And to appreciate practical effects where you're using something like

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Speaker 1: a latex sheet and you're using some form of whether

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Speaker 1: it's an actor, a mask, a puppet, or whatever, to

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Speaker 1: to create that effect. I mean, there is something really

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Speaker 1: visceral and and the textures are really impressive. It's something

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Speaker 1: that goes again beyond just that. Oh, there's a very

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Speaker 1: clever animation. Uh. And and also it just shows a

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

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

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

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Speaker 1: happening in real time somewhere. It's it's it's not a

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Speaker 1: bunch of people staring at a green wall pretending that

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Speaker 1: they see something that is really effective and then having

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Speaker 1: to react to nothing at all. They actually have stuff

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Speaker 1: to react to in those practical effects. Uh. I am

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Speaker 1: not an actor that's good enough to react to a

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Speaker 1: green screen with and and make that at all convincing.

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Speaker 1: I need to have some sort of monster thing coming

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Speaker 1: at me so that I can really, you know, be

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Speaker 1: somewhat convincing in my response. And the Christmas lights is

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Speaker 1: the same thing, because we um, you know, I think

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Speaker 1: it looked a lot more authentic and better to have

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Speaker 1: it practical. But even um, there's like the scene where Holly,

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Speaker 1: the the young Wheeler daughters like following the Christmas lights

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Speaker 1: down the hallway. Um, and I think if we didn't

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Speaker 1: have all of those actually lighting up in her having

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Speaker 1: that direction and sort of all the interaction you know,

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Speaker 1: with the lights and actors, it wouldn't have been the same. Now,

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Speaker 1: you wouldn't be able to get that tension. Yeah, that's

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Speaker 1: a great moment, So tell me also, I mean the

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

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Speaker 1: that I definitely wanted to hit upon because a deceptively

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Speaker 1: simple technology that ends up actually requiring thinking outside the

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

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Speaker 1: then requiring you to actually solder things weeks weeks. We wow,

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

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

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Speaker 1: you could get that effect to work properly, it was

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Speaker 1: two weeks. That's I mean, that's a lot of work

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Speaker 1: to get Christmas lights the light up built. I think

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Speaker 1: we only built out of the twenty that we were

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Speaker 1: going to build, we only built seventeen because that's all

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Speaker 1: we had time to do on top of everything else

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Speaker 1: that we had to do. Yeah, yeah, so because then

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Speaker 1: they would so they would solder these little strands, you know,

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Speaker 1: onto the sockets, and then we had it involved me

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Speaker 1: going back to props Um the lights that Joyce originally

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Speaker 1: buys at mel Ball's Um props. I guess it just

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Speaker 1: sort of had newer lights in the box and wasn't

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Speaker 1: really thinking about the bigger picture, so we had to

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Speaker 1: go back. Can have switched those out for the older

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Speaker 1: strands to have like the green and red twisted sort

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Speaker 1: of look. So that we could that that was the

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Speaker 1: easiest thing for us to copy, so they would finished

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Speaker 1: soldering and then we would paint them green and red

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Speaker 1: and twist them all together. Um. You know, so there's

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Speaker 1: like a whole there's a whole collaborative effort annuity right

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Speaker 1: there making sure that like because I mean I see

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Speaker 1: a lot of movies where clearly that that level of

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Speaker 1: care was not quite taken. You'll look at something and

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Speaker 1: things like that's not even the same prop as what

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Speaker 1: he was holding a second ago. So having that kind

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Speaker 1: of level of detail is really cool. Uh So I

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Speaker 1: assume there was someone just like actually just manually operating

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Speaker 1: those lights for all those sequences. We had our demmer

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Speaker 1: board operator Jim Dornoman. He programmed all that and operating

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Speaker 1: real temperate, in real time. He's another one of my

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Speaker 1: heroes too, because these guys because it wasn't because the

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Speaker 1: Christmas lights were one thing. And then um there's also

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Speaker 1: like the scene with the lamps and in in the bedroom,

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Speaker 1: um and Winona having to you know, bring it. I

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Speaker 1: guess we never had a scene at first they're going

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Speaker 1: to show her like bringing all the lamps in and

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Speaker 1: setting them up, and that was going to be like

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Speaker 1: a whole other nightmare. But um, once they were sort

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Speaker 1: of you know, they're just getting those programmed right to

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Speaker 1: do that effect. Um, Jim stayed late with me one

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Speaker 1: night and just like we did, you know, kept practicing

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Speaker 1: and getting all that down. So see, to me, that's

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Speaker 1: really cool because it's not just technical, it's it's a

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Speaker 1: level of performance. I mean, you we're playing effectively another

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Speaker 1: character in the scene, and so you know it's there's

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Speaker 1: there's all the timing that's required in that too, and

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Speaker 1: again to get what the director wants in order for

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Speaker 1: that to have the emotional and psychological impact on the viewer, which,

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Speaker 1: by the way, credibly effective because I loved it. Uh

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

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

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

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Speaker 1: all of that. So I'm really I'm really pressed. I

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

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Speaker 1: nineteen eighties era uh, carpet ing, furniture, the technology in particular,

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Speaker 1: because we're not so far removed from the nineteen eighties

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Speaker 1: that we think of those things as antiques, so therefore

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Speaker 1: there's not a lot of work in preserve preserving them.

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Speaker 1: But we're far enough out where nobody wants to hold

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Speaker 1: onto them anymore. So was was that a challenge to

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Speaker 1: you to to find things that could incorpe that could

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Speaker 1: live in that early eighties setting? Not as hard as

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Speaker 1: you would think. I think pigion mostly just because thank

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Speaker 1: God for state sales and Atlanta being a good estate

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Speaker 1: sales city. Um. I've worked in other cities where you

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Speaker 1: just don't, you know, they just don't operate like that.

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Speaker 1: You don't. I don't know how people get rid of

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Speaker 1: their stuff after they've passed. I don't know, but um,

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Speaker 1: Atlanta is good about it. There are other like I've

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Speaker 1: done other movies. I did a movie, um that It

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Speaker 1: was a news station set in the seventies. Um and

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Speaker 1: that's one of those like there's already not a ton

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Speaker 1: of like news broadcast station equipment out there, not like

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Speaker 1: you know, old nintendos and things, but um and and

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Speaker 1: then it was so fragile. It was sort of that

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Speaker 1: like just that first wave of like electronic technology and

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Speaker 1: the old analog stuff from like the fifties was you know,

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Speaker 1: you can get that kind of stuff. Um, but that's

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Speaker 1: but getting stuff that worked that was that's sort of that.

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Speaker 1: Um that first generation plastic electronic disposable almost like technologies

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Speaker 1: was harder. But um, fortunately for you know, Sears catalog days,

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Speaker 1: a lot of Americans all had the same stuff and

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Speaker 1: enough people held onto it her pack rats that we

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Speaker 1: could kind of curate and go through and find everything

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Speaker 1: we needed. Yeah. I I went to a panel with uh,

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Speaker 1: the art director from Stranger Things, and he talked a

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Speaker 1: little bit about the sess of identifying the different the

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Speaker 1: different types of of fabrics and the different color schemes

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Speaker 1: that we're going to be important and how you know,

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Speaker 1: certain certain houses we're gonna look like they were more

329
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Speaker 1: of a holdover from maybe the mid to late seventies

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Speaker 1: and some were a little bit more modern in the

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Speaker 1: sense of the early eighties. And uh and that also

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Speaker 1: was really interesting to me, this idea of you know,

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Speaker 1: you're not just you're not just creating creating a huge

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Speaker 1: pile of stuff from a general era. You actually have

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Speaker 1: to give each of these places its own personality. Well

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Speaker 1: that's yeah, there is a I tell people the story

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00:19:36,440 --> 00:19:38,680
Speaker 1: that one of our accountants came to me after we

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Speaker 1: were like up in filming the first week or so

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Speaker 1: on stage and um, she said, you know, Jess, I

340
00:19:44,960 --> 00:19:47,520
Speaker 1: saw your sets. They look really great, but gosh, like

341
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Speaker 1: is this this is the eighties and they look very

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Speaker 1: seventies to me, And I was, you know, and it's

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Speaker 1: one of those like not every socioeconomic group is going

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Speaker 1: to just instantly have you know, the eighties. Yeah, from

345
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Speaker 1: like that's year's catalog that year. It's all. It's more

346
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Speaker 1: of a you know, when did they build a house,

347
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Speaker 1: When would they have you know, renovated or was there

348
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Speaker 1: you know, what did they have the means to update

349
00:20:09,520 --> 00:20:12,159
Speaker 1: the carpet, wallpaper or whatever, and kind of have to

350
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Speaker 1: just think it through. Um, each character having its own

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Speaker 1: sort of storyline with their home keeping everything consistent. I

352
00:20:18,640 --> 00:20:21,160
Speaker 1: mean that is clearly very important if you want to

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Speaker 1: establish things, like, you know, u believable character. It would

354
00:20:25,600 --> 00:20:28,800
Speaker 1: be weird to go into a home of a person

355
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Speaker 1: who was presumably just scraping by and you see what

356
00:20:34,280 --> 00:20:36,680
Speaker 1: it appears to be a brand new apple two gs

357
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Speaker 1: in the background. You're like, that's a couple of grand

358
00:20:39,400 --> 00:20:42,400
Speaker 1: Where did they get that money for that? They? Yeah,

359
00:20:42,520 --> 00:20:46,560
Speaker 1: So was there anything in particular that you either of

360
00:20:46,600 --> 00:20:51,880
Speaker 1: you that you think was really interesting or really cool. Uh,

361
00:20:51,960 --> 00:20:55,959
Speaker 1: something that you had not anticipated, uh that you know,

362
00:20:56,160 --> 00:20:58,280
Speaker 1: that's like your go to. Like you know, if if

363
00:20:58,280 --> 00:21:00,280
Speaker 1: people are asking you, what was it like, Well, let

364
00:21:00,320 --> 00:21:02,520
Speaker 1: me tell you this particular thing that I was really

365
00:21:03,280 --> 00:21:05,560
Speaker 1: excited about. Whether it was something that turned out the

366
00:21:05,560 --> 00:21:08,680
Speaker 1: way you expected at the beginning or something that completely

367
00:21:08,720 --> 00:21:13,160
Speaker 1: went a different direction. Getting getting invited back to season two,

368
00:21:13,200 --> 00:21:16,480
Speaker 1: that was that's good. That's good. I think if you

369
00:21:16,520 --> 00:21:19,199
Speaker 1: were able to take all of those Christmas lights and

370
00:21:19,240 --> 00:21:24,400
Speaker 1: make them light up individually, that's a really good start. Um.

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Speaker 1: I don't know, I don't that's I mean, that's why

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Speaker 1: I was thrilled to be here today and asked John

373
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Speaker 1: to come to because for me, that sort of like

374
00:21:31,960 --> 00:21:36,480
Speaker 1: a collaborative overlap um my thing. And he knows this well,

375
00:21:36,640 --> 00:21:39,440
Speaker 1: is it like today? In film? Um? Like everyone loves

376
00:21:39,560 --> 00:21:42,800
Speaker 1: led lights lighting, even if they're trying to make even

377
00:21:42,840 --> 00:21:45,720
Speaker 1: if it is like period or they wanted to look um,

378
00:21:46,000 --> 00:21:48,639
Speaker 1: you know, period, they still kind of fall back on

379
00:21:48,880 --> 00:21:52,399
Speaker 1: LEDs because they're easier to control and and I kind

380
00:21:52,440 --> 00:21:55,240
Speaker 1: of hate them, so, um, I mean I'm coming around

381
00:21:55,240 --> 00:21:57,320
Speaker 1: to some of them. But anyway to have them to

382
00:21:57,440 --> 00:22:00,359
Speaker 1: have our electrical department have the patients to kind of

383
00:22:00,400 --> 00:22:03,159
Speaker 1: like really do it right and work with the older technology.

384
00:22:03,200 --> 00:22:05,760
Speaker 1: And and you know that that was a it was

385
00:22:05,800 --> 00:22:11,320
Speaker 1: a long process. But the fluorescent fixtures lots fluorescence because

386
00:22:11,359 --> 00:22:17,280
Speaker 1: their period of course, and hardly anyone stocks fluorescent ballast

387
00:22:17,600 --> 00:22:21,800
Speaker 1: that we had to replace hundreds of ballast in high

388
00:22:21,800 --> 00:22:27,639
Speaker 1: schools and Melvols and all over Georgia we replaced ballast. Wow,

389
00:22:28,200 --> 00:22:33,000
Speaker 1: that's a that's a big undertaking. That was awful, But

390
00:22:33,000 --> 00:22:35,840
Speaker 1: but it pays off on screen because it does give

391
00:22:35,840 --> 00:22:38,439
Speaker 1: you that like like that's why it feels like it

392
00:22:38,480 --> 00:22:40,520
Speaker 1: was made in the eighties is because it has all

393
00:22:40,520 --> 00:22:43,359
Speaker 1: of this this love and care behind it. And you

394
00:22:43,400 --> 00:22:46,600
Speaker 1: can see that rolling out through other projects that are

395
00:22:47,240 --> 00:22:51,359
Speaker 1: clearly following that same philosophy. I mean, Stephen King's it

396
00:22:51,640 --> 00:22:55,600
Speaker 1: coming out, Like, I think the look of it owes

397
00:22:55,640 --> 00:23:00,000
Speaker 1: an awful lot to Stranger Things. It has a very

398
00:23:00,000 --> 00:23:03,199
Speaker 1: similar kind of field to it. For that that second,

399
00:23:03,320 --> 00:23:05,560
Speaker 1: I mean, it's amazing to me that they went ahead

400
00:23:05,560 --> 00:23:09,240
Speaker 1: and decided to set the adult story in modern day,

401
00:23:09,280 --> 00:23:13,120
Speaker 1: which conveniently made the children's story set in the eighties.

402
00:23:13,560 --> 00:23:16,439
Speaker 1: And so there are a lot of parallels there. But

403
00:23:16,440 --> 00:23:19,240
Speaker 1: it's funny because of course Stranger Things also, you could

404
00:23:19,280 --> 00:23:22,040
Speaker 1: tell has a little bit of the the influence of

405
00:23:22,040 --> 00:23:25,720
Speaker 1: Stephen King is certainly in the Stranger Things universe as well.

406
00:23:25,720 --> 00:23:27,640
Speaker 1: So it's all kind of feeding in on itself. It's

407
00:23:28,080 --> 00:23:35,199
Speaker 1: um collaborative and cooperative as well as competitive process. I'm sure. So, Uh,

408
00:23:35,359 --> 00:23:38,879
Speaker 1: were there any particular sets that you really liked working

409
00:23:38,880 --> 00:23:41,840
Speaker 1: on or any that you really did not like working on?

410
00:23:43,920 --> 00:23:47,800
Speaker 1: I don't, John, I probably will have different responses, but um,

411
00:23:47,840 --> 00:23:50,639
Speaker 1: I mean the Buyer's House is one of them. I

412
00:23:50,680 --> 00:23:53,119
Speaker 1: tell everyone, it's like its own sort of character that

413
00:23:53,200 --> 00:23:55,199
Speaker 1: we have. You know, it's at least we shot it

414
00:23:55,280 --> 00:23:57,840
Speaker 1: in a for the most part chronological order, because we

415
00:23:58,119 --> 00:24:03,000
Speaker 1: really literally destroyed it completely, um as we went and

416
00:24:03,040 --> 00:24:06,160
Speaker 1: you know, Joyce ripping things apart and monsters smashing things,

417
00:24:06,200 --> 00:24:09,200
Speaker 1: and um, I will say it was it was towards

418
00:24:09,240 --> 00:24:11,080
Speaker 1: the end of it when all the Christmas lights were

419
00:24:11,200 --> 00:24:13,359
Speaker 1: up and like half pulled down, and it was an

420
00:24:13,400 --> 00:24:16,760
Speaker 1: absolute nightmare for the shooting crew. I mean, for a

421
00:24:16,800 --> 00:24:19,520
Speaker 1: boom operator to operate in that setting was just like

422
00:24:19,640 --> 00:24:22,639
Speaker 1: it's uh, you know, it's everyone was getting like tangled

423
00:24:22,720 --> 00:24:25,720
Speaker 1: and um, it was Yeah, it was truly like a

424
00:24:26,240 --> 00:24:28,440
Speaker 1: It was a it was kind of fun to watch

425
00:24:28,480 --> 00:24:31,320
Speaker 1: it progress, but it was a it took a lot

426
00:24:31,359 --> 00:24:33,639
Speaker 1: of patients. They're not not every shooting crew would be

427
00:24:33,640 --> 00:24:39,840
Speaker 1: cut out to kind of handle that. That setting. My

428
00:24:39,960 --> 00:24:43,920
Speaker 1: least favorite was the high school because we had again

429
00:24:43,960 --> 00:24:46,920
Speaker 1: we had to go in and replace every fluorescent, most

430
00:24:46,960 --> 00:24:49,280
Speaker 1: of the ballast in there. And then towards the end

431
00:24:49,320 --> 00:24:52,320
Speaker 1: of it, when they had the scene with eleven and

432
00:24:52,359 --> 00:24:55,280
Speaker 1: the monster, everything starts to go crazy and flickers, we

433
00:24:55,320 --> 00:24:58,639
Speaker 1: had to take everything out and we reinstalled our own

434
00:24:59,119 --> 00:25:02,520
Speaker 1: led rips throughout the school so we could make everything

435
00:25:02,560 --> 00:25:05,920
Speaker 1: flicker on and off. That's a lot of work. There's

436
00:25:05,920 --> 00:25:07,840
Speaker 1: a lot of work. And it wasn't even just led tubes.

437
00:25:07,880 --> 00:25:09,639
Speaker 1: It was like because they were soldering again. I just

438
00:25:09,680 --> 00:25:12,800
Speaker 1: would see that, you know, you guys were on sodering

439
00:25:12,840 --> 00:25:17,160
Speaker 1: in some old classroom, putting led strips in like twos

440
00:25:17,240 --> 00:25:21,000
Speaker 1: or whatever you were doing. Yeah, that was well, what

441
00:25:21,040 --> 00:25:23,680
Speaker 1: was what was it like working in Uh? Did they

442
00:25:24,320 --> 00:25:28,879
Speaker 1: the facility? Wasn't that set in an old building and emory? Yeah,

443
00:25:28,960 --> 00:25:36,359
Speaker 1: Hawkins Lab Law was that experience. Uh, I'm you know,

444
00:25:36,640 --> 00:25:38,480
Speaker 1: there are a lot of shows that film there. Um,

445
00:25:38,480 --> 00:25:40,399
Speaker 1: I feel like we were still in the early wave

446
00:25:40,480 --> 00:25:42,960
Speaker 1: of like some of the shows that were like really

447
00:25:42,960 --> 00:25:45,000
Speaker 1: working on all the different floors and stuff. So like

448
00:25:45,600 --> 00:25:48,879
Speaker 1: especially John and having to go up and put you know,

449
00:25:49,040 --> 00:25:50,960
Speaker 1: move ceiling tiles out of the way to run cable

450
00:25:51,000 --> 00:25:53,560
Speaker 1: and stuff. Was like, you're for the first time in

451
00:25:53,640 --> 00:25:56,720
Speaker 1: forty years, you know, you were you were you were

452
00:25:56,760 --> 00:25:59,920
Speaker 1: the explorer that everyone else got the beef we found

453
00:26:00,000 --> 00:26:04,440
Speaker 1: all the rat facing. Yeah, Well, for people who don't know,

454
00:26:04,560 --> 00:26:07,240
Speaker 1: can you talk a little bit about the building itself

455
00:26:07,280 --> 00:26:10,080
Speaker 1: where the Hawkins Lab was, because I think you know, again,

456
00:26:10,560 --> 00:26:13,560
Speaker 1: everyone sees it in the show, but they don't know

457
00:26:14,400 --> 00:26:17,000
Speaker 1: what the actual space was. They might just think, oh,

458
00:26:17,080 --> 00:26:18,879
Speaker 1: was that just a set on a studio, and in

459
00:26:18,880 --> 00:26:21,520
Speaker 1: fact that parts of it at least were very much

460
00:26:21,520 --> 00:26:24,480
Speaker 1: in a real building here in Atlanta. Yeah, we I

461
00:26:24,520 --> 00:26:27,080
Speaker 1: will say, like when we were first when the Duffers

462
00:26:27,080 --> 00:26:29,320
Speaker 1: were first here and we were gonna, you know, film

463
00:26:29,520 --> 00:26:33,480
Speaker 1: Stranger Things in Atlanta and full disclosure, I sometimes location

464
00:26:33,520 --> 00:26:35,600
Speaker 1: scout when I'm not decorating. It's like my secret job.

465
00:26:35,720 --> 00:26:37,439
Speaker 1: So um, so I was doing a lot of the

466
00:26:37,520 --> 00:26:40,920
Speaker 1: like early scouting, trying to figure out what Hawkins Lab

467
00:26:40,960 --> 00:26:43,919
Speaker 1: was going to be and how undercover and small it

468
00:26:43,960 --> 00:26:46,800
Speaker 1: was going to be or how big and um, you know,

469
00:26:47,240 --> 00:26:50,080
Speaker 1: just what the look was going to be. Yeah, and

470
00:26:50,119 --> 00:26:53,080
Speaker 1: I we didn't all agree. I felt like that building

471
00:26:53,080 --> 00:26:55,719
Speaker 1: at Emory, with its metal facade and kind of craziness

472
00:26:55,720 --> 00:26:59,280
Speaker 1: on the outside, was a little like ostentatious for secret

473
00:26:59,440 --> 00:27:03,400
Speaker 1: sort of from a facility. But um, anyway, but they

474
00:27:03,440 --> 00:27:05,919
Speaker 1: loved I mean, it is a pretty impressive building and

475
00:27:06,000 --> 00:27:08,760
Speaker 1: it's very distinct, and what they did within in posts,

476
00:27:08,760 --> 00:27:10,800
Speaker 1: like putting the satellites and stuff on top of it,

477
00:27:10,960 --> 00:27:13,600
Speaker 1: made it all kind of work. But um, yeah, it's

478
00:27:13,600 --> 00:27:16,080
Speaker 1: a it's on Briar Cliff here in Atlanta, and it's

479
00:27:16,080 --> 00:27:21,800
Speaker 1: an old mental hospital. Um and uh yeah, so it's

480
00:27:21,800 --> 00:27:26,280
Speaker 1: truly creepy. It's not everything works in there anymore. Powers

481
00:27:26,320 --> 00:27:28,080
Speaker 1: like kind of like hit or miss in some areas,

482
00:27:28,200 --> 00:27:33,119
Speaker 1: and uh, a lot of leaks and things. It's yeah,

483
00:27:33,359 --> 00:27:34,840
Speaker 1: so it must have been a tough one to work

484
00:27:34,840 --> 00:27:36,399
Speaker 1: in as well, John, did you do you have a

485
00:27:36,440 --> 00:27:39,840
Speaker 1: lot of challenges going through all that. I mean, it's

486
00:27:39,880 --> 00:27:43,600
Speaker 1: just like that place they just stopped one day and

487
00:27:43,640 --> 00:27:46,479
Speaker 1: everyone left and then people came in behind them. And

488
00:27:46,560 --> 00:27:50,600
Speaker 1: trashed the place. So there's broken glass everywhere, there were

489
00:27:50,680 --> 00:27:56,480
Speaker 1: needles everywhere, um, and just trying to figure out what

490
00:27:56,800 --> 00:28:00,000
Speaker 1: like how to power how does this light come on where?

491
00:28:00,040 --> 00:28:01,640
Speaker 1: And you have to trace it all the way down

492
00:28:01,920 --> 00:28:04,840
Speaker 1: sometimes in the floor underneath you or the sub floor

493
00:28:05,359 --> 00:28:09,280
Speaker 1: underneath you. That was definitely a challenge. Wow. So I'm

494
00:28:09,320 --> 00:28:11,879
Speaker 1: sure that was one of the more difficult ones to

495
00:28:12,000 --> 00:28:15,040
Speaker 1: actually to power and make sure that everything was working properly.

496
00:28:15,680 --> 00:28:18,280
Speaker 1: Uh yeah. I saw the pictures of sort of the

497
00:28:18,320 --> 00:28:21,400
Speaker 1: before and after during one of those presentations, and it

498
00:28:21,480 --> 00:28:26,240
Speaker 1: was really, um, really alarming. Actually, there was a shot

499
00:28:26,280 --> 00:28:29,400
Speaker 1: that was just down the hallway and it was possibly

500
00:28:29,440 --> 00:28:32,119
Speaker 1: the most creepy looking photograph I had seen in a

501
00:28:32,200 --> 00:28:35,120
Speaker 1: really long time. Well, the one thing I will say

502
00:28:35,160 --> 00:28:37,719
Speaker 1: is that we had every intention when we first started

503
00:28:37,720 --> 00:28:42,360
Speaker 1: of shooting um, like the the sort of rift lab

504
00:28:42,960 --> 00:28:46,000
Speaker 1: in Hawkins, like where the tank and everything is. That

505
00:28:46,240 --> 00:28:48,520
Speaker 1: was the tunnels leading up to that and the opening

506
00:28:48,520 --> 00:28:50,280
Speaker 1: scene where he's like getting off the elevator and everything.

507
00:28:50,320 --> 00:28:53,200
Speaker 1: We're going to do that at Emery, which is they

508
00:28:53,240 --> 00:28:57,120
Speaker 1: actually have these like underground tunnels, um that are that

509
00:28:57,240 --> 00:29:01,280
Speaker 1: are It's pretty bad. I don't even know yeah, it's

510
00:29:01,280 --> 00:29:03,800
Speaker 1: like asbestos and all these like you know, it's just

511
00:29:03,840 --> 00:29:07,360
Speaker 1: it's dark. There hasn't empowered on there forever um. And

512
00:29:07,400 --> 00:29:09,400
Speaker 1: so at the last minute, I think they've done these

513
00:29:09,400 --> 00:29:11,600
Speaker 1: like air quality tests and stuff, and they finally said,

514
00:29:11,640 --> 00:29:14,880
Speaker 1: there's okay, this is great. The texture is great, it's authentic,

515
00:29:14,960 --> 00:29:17,200
Speaker 1: but we like, really we cannot film down here. So

516
00:29:17,640 --> 00:29:20,480
Speaker 1: we ended up copying the general look of it on

517
00:29:20,520 --> 00:29:22,480
Speaker 1: our stage and we built a series of tunnels that

518
00:29:22,520 --> 00:29:25,080
Speaker 1: were a lot more easy to control from a lighting

519
00:29:25,080 --> 00:29:27,680
Speaker 1: standpoint in every other aspect, so right, and you don't

520
00:29:27,680 --> 00:29:31,640
Speaker 1: have to worry about breeding in Yeah, when we do that,

521
00:29:31,680 --> 00:29:33,479
Speaker 1: I feel like the like John and I and our

522
00:29:33,720 --> 00:29:37,400
Speaker 1: cruise that are there, you know beforehand, so early working

523
00:29:37,440 --> 00:29:41,760
Speaker 1: on places, especially those guys with like the ceiling tiles

524
00:29:41,760 --> 00:29:45,240
Speaker 1: are the hidden that's what is above those is uh

525
00:29:45,400 --> 00:29:48,520
Speaker 1: the real you know there's yeah, there's there's a whole

526
00:29:48,560 --> 00:29:54,000
Speaker 1: treasure of exactly. Yeah. Um. So we deal with the

527
00:29:54,040 --> 00:29:56,200
Speaker 1: worst of it, and then I think shooting crew has

528
00:29:56,320 --> 00:29:58,360
Speaker 1: a little better time. By the time they get in there,

529
00:29:58,360 --> 00:29:59,840
Speaker 1: it's all been cleaned up a little bit. And then

530
00:29:59,840 --> 00:30:01,760
Speaker 1: they course then you have you know, the very pampered

531
00:30:02,000 --> 00:30:07,920
Speaker 1: people to actors. That's fantastic that they complain a little

532
00:30:07,920 --> 00:30:10,160
Speaker 1: bit about it being a little chilly outside. Like listen,

533
00:30:10,600 --> 00:30:12,960
Speaker 1: when we came here, there was no power, water was

534
00:30:13,000 --> 00:30:16,960
Speaker 1: coming in and there were rats everywhere. So there's some

535
00:30:17,040 --> 00:30:20,720
Speaker 1: sets like in season two, um which you know, who

536
00:30:20,840 --> 00:30:23,960
Speaker 1: can kind of leave everyone just sort of experienced later

537
00:30:23,960 --> 00:30:28,520
Speaker 1: this month, but um, it's there is an arcade and

538
00:30:28,640 --> 00:30:30,800
Speaker 1: just know, like when we finished all this off, show

539
00:30:30,840 --> 00:30:33,479
Speaker 1: you the photos. But the before was like an old

540
00:30:34,360 --> 00:30:38,120
Speaker 1: launder matt dry cleaner place that had been sold, closed down,

541
00:30:38,320 --> 00:30:41,440
Speaker 1: leaky roof, all the same stuff. The hoarder had taken

542
00:30:41,480 --> 00:30:43,440
Speaker 1: it over and it was like to the ceiling with

543
00:30:43,920 --> 00:30:48,680
Speaker 1: like mattresses and diapers and like whatever garbage. And so

544
00:30:48,800 --> 00:30:52,120
Speaker 1: that process wasn't another good one. We've had a lot

545
00:30:52,160 --> 00:30:55,080
Speaker 1: of stranger things. Is like people who hear about our production,

546
00:30:55,120 --> 00:30:56,960
Speaker 1: I feel like who also shoot in Atlanta are like

547
00:30:57,240 --> 00:30:59,520
Speaker 1: who he seet and kind of know what we started

548
00:30:59,560 --> 00:31:01,760
Speaker 1: out with then what the final product is are like

549
00:31:02,320 --> 00:31:05,440
Speaker 1: why you know your show is like does the craziest

550
00:31:05,520 --> 00:31:06,920
Speaker 1: Like we're willing to put up with a lot more,

551
00:31:06,960 --> 00:31:10,560
Speaker 1: I think than a lot of other like productions, Hollywood

552
00:31:10,600 --> 00:31:13,080
Speaker 1: productions that you know, would never touch some places that

553
00:31:13,120 --> 00:31:15,520
Speaker 1: we go into. Yeah, well again it pays off though,

554
00:31:15,760 --> 00:31:17,920
Speaker 1: so I look forward to seeing those photos because of course,

555
00:31:18,000 --> 00:31:20,560
Speaker 1: again growing up in the seventies and eighties, I have

556
00:31:20,680 --> 00:31:23,000
Speaker 1: a lot of fond memories of arcades that you just

557
00:31:23,120 --> 00:31:25,320
Speaker 1: you know, you very rarely encounter those kind of places

558
00:31:25,360 --> 00:31:27,080
Speaker 1: these days. It's going to be another one of those

559
00:31:27,120 --> 00:31:29,840
Speaker 1: like why would you put the effort into it? Like

560
00:31:30,160 --> 00:31:32,120
Speaker 1: it's but it was just little architectural things about the

561
00:31:32,120 --> 00:31:34,200
Speaker 1: building that we thought were kind of great. And I

562
00:31:34,240 --> 00:31:36,400
Speaker 1: don't know everyone that you run into one of those

563
00:31:36,400 --> 00:31:39,720
Speaker 1: places where you're just like, well, everything inside here is

564
00:31:39,720 --> 00:31:44,000
Speaker 1: is trashed, but it's so evocative of that particular thing

565
00:31:44,040 --> 00:31:46,920
Speaker 1: you're trying to do that you know, I'm sure it

566
00:31:46,960 --> 00:31:50,040
Speaker 1: becomes one of those debates that rages in your mind,

567
00:31:50,120 --> 00:31:52,520
Speaker 1: like is it going to be worth the amount of

568
00:31:52,560 --> 00:31:55,280
Speaker 1: effort it's going to take to get this place into shape?

569
00:31:55,840 --> 00:31:57,920
Speaker 1: And if the answer is yes, then you just have

570
00:31:57,960 --> 00:32:00,720
Speaker 1: to grit your teeth and go for it and and

571
00:32:00,720 --> 00:32:03,840
Speaker 1: and uh, you know, get the work done. The library

572
00:32:03,880 --> 00:32:09,720
Speaker 1: we had the Hawkins Library, Yeah, um, we another one

573
00:32:09,720 --> 00:32:13,720
Speaker 1: of my really good ideas that there's a a library

574
00:32:13,840 --> 00:32:17,640
Speaker 1: in downtown East Point, Georgia. That was, Um, it was

575
00:32:17,680 --> 00:32:20,160
Speaker 1: like on the places in Peril like a story preservation list.

576
00:32:20,280 --> 00:32:25,719
Speaker 1: It was. It was leaky roof, same thing, you know, asbestos, mold,

577
00:32:26,080 --> 00:32:28,080
Speaker 1: tons of tons of mold. They had standing water in

578
00:32:28,080 --> 00:32:31,600
Speaker 1: the basement for like two years, um. And we had

579
00:32:31,600 --> 00:32:33,920
Speaker 1: the big idea to spend I don't know how much

580
00:32:33,960 --> 00:32:36,560
Speaker 1: we spent there with like a full like mold remediation

581
00:32:36,680 --> 00:32:41,040
Speaker 1: and abatement process. Um. And then you know, John went

582
00:32:41,080 --> 00:32:43,800
Speaker 1: in and fixed all the light fixtures and we went

583
00:32:43,840 --> 00:32:46,960
Speaker 1: in and put in you know, the bookcases and of

584
00:32:47,040 --> 00:32:50,960
Speaker 1: a lot like twenty books and um, library card catalogs,

585
00:32:50,960 --> 00:32:52,880
Speaker 1: all that stuff just to you know, for really not

586
00:32:53,240 --> 00:32:56,640
Speaker 1: at all much screen time. Um. But you know, but

587
00:32:56,680 --> 00:32:58,719
Speaker 1: you need a perior of library and you gotta start somewhere.

588
00:32:58,760 --> 00:33:01,600
Speaker 1: So um, we ended up at actually donating I donated

589
00:33:01,600 --> 00:33:05,000
Speaker 1: like the books and everything to the City's point to

590
00:33:05,040 --> 00:33:08,520
Speaker 1: stay intact there so it can it kind of gets

591
00:33:08,680 --> 00:33:11,360
Speaker 1: now rent out as a location for other productions and

592
00:33:11,560 --> 00:33:13,959
Speaker 1: that money kind of goes into keeping the building up

593
00:33:14,000 --> 00:33:16,480
Speaker 1: and they fix the roof and everything. So so it's cool.

594
00:33:16,680 --> 00:33:20,480
Speaker 1: Saved it. Yeah, there's there's a little nice little byproduct

595
00:33:20,560 --> 00:33:23,800
Speaker 1: of the production. It's not not just not just that

596
00:33:23,840 --> 00:33:27,800
Speaker 1: you're making amazing entertainment, but that you can actually benefit well.

597
00:33:27,920 --> 00:33:30,840
Speaker 1: And again this gets outside of tech, but we hear

598
00:33:30,880 --> 00:33:33,000
Speaker 1: it all the time. I mean, there's always the discussion

599
00:33:33,120 --> 00:33:37,640
Speaker 1: about the benefits of the film and television business moving

600
00:33:37,640 --> 00:33:40,280
Speaker 1: into any place. When you can hear about stories like that,

601
00:33:40,360 --> 00:33:43,680
Speaker 1: you're like, that's something that I wouldn't necessarily have thought of,

602
00:33:43,960 --> 00:33:46,959
Speaker 1: just from the fact that we're getting this influx of

603
00:33:47,520 --> 00:33:50,360
Speaker 1: productions coming into Atlanta. For those who do not know,

604
00:33:50,960 --> 00:33:53,840
Speaker 1: Atlanta is one of the cities in the United States

605
00:33:53,880 --> 00:33:56,720
Speaker 1: that's really taking off when it comes to film and

606
00:33:56,720 --> 00:33:59,920
Speaker 1: television and music video production. And you know, there's certain

607
00:34:00,040 --> 00:34:03,160
Speaker 1: to a certain extent, music video had been fairly big

608
00:34:03,160 --> 00:34:07,160
Speaker 1: here for a while. Uh Television, some TV productions we're

609
00:34:07,160 --> 00:34:09,640
Speaker 1: being were shot in here. But we're seeing more and

610
00:34:09,680 --> 00:34:13,600
Speaker 1: more film projects as well, largely because of the construction

611
00:34:13,640 --> 00:34:17,000
Speaker 1: of the Pinewood Studio that's south of the city, and

612
00:34:17,560 --> 00:34:20,799
Speaker 1: they're especially like just around the area that we're in

613
00:34:20,880 --> 00:34:24,320
Speaker 1: right now. We're at Pont City Market in Atlanta. Around

614
00:34:24,360 --> 00:34:27,279
Speaker 1: this general area, you can't you can't go maybe a

615
00:34:27,280 --> 00:34:29,359
Speaker 1: couple of miles in any direction before you start seeing

616
00:34:29,440 --> 00:34:33,680
Speaker 1: signs for various productions, they're everywhere, uh and um. And

617
00:34:33,760 --> 00:34:37,280
Speaker 1: so we're actually seeing some of that benefit now where

618
00:34:37,360 --> 00:34:42,400
Speaker 1: we're seeing, you know, communities get potentially get the reuse

619
00:34:42,480 --> 00:34:46,040
Speaker 1: of buildings that otherwise would have been remaining vacant um.

620
00:34:46,040 --> 00:34:49,680
Speaker 1: From a similar perspective, although this wasn't from a film production,

621
00:34:50,040 --> 00:34:54,759
Speaker 1: the building we're in right now was largely vacant for decades.

622
00:34:54,960 --> 00:34:59,160
Speaker 1: It was a Sears distribution center. Then for a while

623
00:34:59,239 --> 00:35:01,759
Speaker 1: the city of atlant had about ten percent of this

624
00:35:01,880 --> 00:35:05,919
Speaker 1: building and the other was empty. I picked up many

625
00:35:06,120 --> 00:35:11,160
Speaker 1: police reports and things here. Yeah, and you could get

626
00:35:11,320 --> 00:35:13,120
Speaker 1: like art supplies, and I used to come here and

627
00:35:13,120 --> 00:35:16,800
Speaker 1: get art supply. Yeah. Yeah. And to the point where

628
00:35:17,120 --> 00:35:19,839
Speaker 1: if you were to walk around all the different offices here,

629
00:35:20,040 --> 00:35:21,560
Speaker 1: first of all, they'd ask you to leave, But if

630
00:35:21,560 --> 00:35:24,440
Speaker 1: you were to do that, you would probably see a

631
00:35:24,520 --> 00:35:28,440
Speaker 1: lot of of old equipment, Like we have an old

632
00:35:28,440 --> 00:35:32,440
Speaker 1: turbine in our lobby. And it's because every office was

633
00:35:32,920 --> 00:35:35,359
Speaker 1: given some of the pieces of equipment that had been

634
00:35:35,480 --> 00:35:38,040
Speaker 1: used when this was a big distribution center for Sears.

635
00:35:38,040 --> 00:35:39,560
Speaker 1: I mean it was built right on the railroad. They

636
00:35:39,600 --> 00:35:43,360
Speaker 1: would actually bring railroad cars into this place. So every

637
00:35:43,440 --> 00:35:46,960
Speaker 1: office has some some element of that worked into it.

638
00:35:47,520 --> 00:35:50,359
Speaker 1: Uh and uh it's it's again just one of those

639
00:35:50,360 --> 00:35:54,080
Speaker 1: reminders of the history of the place that for decades

640
00:35:54,200 --> 00:35:58,240
Speaker 1: went just completely unused. And this was literally just stuff

641
00:35:58,280 --> 00:35:59,799
Speaker 1: that was piled up. So I guess it's kind of

642
00:35:59,840 --> 00:36:01,920
Speaker 1: some lewarer to what you do, Jess, where you have

643
00:36:02,000 --> 00:36:04,960
Speaker 1: to you have to go into interesting places and just

644
00:36:05,040 --> 00:36:07,800
Speaker 1: kind of search around. I mean, Uh, there used to

645
00:36:07,840 --> 00:36:10,960
Speaker 1: be a really great place very close to here that

646
00:36:11,200 --> 00:36:14,920
Speaker 1: had crazy stuff for lots of antiques and a lot

647
00:36:14,960 --> 00:36:17,960
Speaker 1: of old fixtures and things, and now it's a restaurant.

648
00:36:18,320 --> 00:36:21,280
Speaker 1: And I'm always sad when I go by the Wrecking Bar. Yeah,

649
00:36:21,640 --> 00:36:23,719
Speaker 1: I'm sad that that place is gone because I would

650
00:36:23,760 --> 00:36:27,920
Speaker 1: find really interesting stuff there. But that was just for me.

651
00:36:28,000 --> 00:36:40,400
Speaker 1: I don't I don't decorate sets at all. So what

652
00:36:40,520 --> 00:36:43,480
Speaker 1: do you think out of maybe not just stranger things,

653
00:36:43,520 --> 00:36:46,120
Speaker 1: but every anything, any production you've worked on. What was

654
00:36:46,160 --> 00:36:51,759
Speaker 1: the the most interesting, uh, piece that you have ever

655
00:36:51,840 --> 00:36:56,680
Speaker 1: found for a production? Well? This, um, the movie I

656
00:36:56,719 --> 00:36:59,799
Speaker 1: was talking about, theo Wash took place in a tell

657
00:37:00,000 --> 00:37:05,000
Speaker 1: Asian station. Um. It was set in nineteen in Sarasota, Florida,

658
00:37:05,120 --> 00:37:08,880
Speaker 1: and the director, I don't know if he completely understood.

659
00:37:08,920 --> 00:37:11,680
Speaker 1: He's a little bit of a Savanta and and wanted

660
00:37:11,960 --> 00:37:16,799
Speaker 1: to have like a full working broadcast studio from that era.

661
00:37:17,000 --> 00:37:22,040
Speaker 1: They just look but actually literally working, which yeah, exactly,

662
00:37:22,200 --> 00:37:25,080
Speaker 1: monitors in a control room and cameras and and all

663
00:37:25,120 --> 00:37:27,880
Speaker 1: of it and all the editing and um and this

664
00:37:27,920 --> 00:37:32,520
Speaker 1: is all still like film and stuff. Yeah. Um. And

665
00:37:32,600 --> 00:37:36,120
Speaker 1: there was this one piece a quadruplex machine. And this

666
00:37:36,200 --> 00:37:39,799
Speaker 1: is like right when um, news gathering was like going

667
00:37:39,840 --> 00:37:42,720
Speaker 1: electronic and so a lot of that technology was changing

668
00:37:42,800 --> 00:37:46,359
Speaker 1: like in the moment. But um, this quadruplex machine that

669
00:37:46,640 --> 00:37:49,439
Speaker 1: looks like a giant kind of real to real thing.

670
00:37:50,160 --> 00:37:53,640
Speaker 1: Um that there are not that many of them and

671
00:37:53,640 --> 00:37:56,080
Speaker 1: there are really not that many of them left now,

672
00:37:56,239 --> 00:37:59,160
Speaker 1: especially working, which is like you know, and they're so finicky.

673
00:38:00,200 --> 00:38:01,880
Speaker 1: There was like a place in the Rhode Island that

674
00:38:01,920 --> 00:38:05,040
Speaker 1: had some museum and like a couple other places even

675
00:38:05,040 --> 00:38:07,760
Speaker 1: like in l A what I would call the regular

676
00:38:07,800 --> 00:38:09,880
Speaker 1: prop houses to ship it out here that they didn't

677
00:38:09,920 --> 00:38:14,240
Speaker 1: have any so I just um was calling old TV stations,

678
00:38:14,280 --> 00:38:17,280
Speaker 1: not that anyone has phones or answers their phone anymore. Anywhere.

679
00:38:17,280 --> 00:38:21,000
Speaker 1: It's like an annoying another annoying landline thing. But um,

680
00:38:21,080 --> 00:38:23,120
Speaker 1: so I was just driving around. We were filming in Savannah,

681
00:38:23,120 --> 00:38:25,000
Speaker 1: and I was just driving like on the weekends too,

682
00:38:25,000 --> 00:38:28,200
Speaker 1: smaller towns that used to have news stations. Um, just

683
00:38:28,239 --> 00:38:30,680
Speaker 1: like looking for like that one place that has an

684
00:38:30,680 --> 00:38:33,680
Speaker 1: attic or a basement that just dashed all the stuff

685
00:38:33,719 --> 00:38:36,640
Speaker 1: and never threw it away. Um. And there was a

686
00:38:36,640 --> 00:38:40,040
Speaker 1: guy in in making at a TV station and he

687
00:38:40,120 --> 00:38:42,560
Speaker 1: was like literally the only guy like manning like reruns

688
00:38:42,560 --> 00:38:44,759
Speaker 1: of the Simpsons or whatever they're you know, like I

689
00:38:44,760 --> 00:38:47,279
Speaker 1: don't even think they did news anymore. Um. But he

690
00:38:47,400 --> 00:38:50,239
Speaker 1: came to the door and I was asking him about

691
00:38:50,239 --> 00:38:53,799
Speaker 1: like old equipment, and um He's like, well, we do

692
00:38:53,880 --> 00:38:55,680
Speaker 1: have this old site out in the swamp that we

693
00:38:55,760 --> 00:38:58,480
Speaker 1: used to use like as a studio. And I was like,

694
00:38:58,520 --> 00:39:00,239
Speaker 1: do you think you have a quadruplex machine and he

695
00:39:00,280 --> 00:39:01,799
Speaker 1: was like, oh yeah, I got that. I got like

696
00:39:01,800 --> 00:39:04,000
Speaker 1: two of those out there. And I was just like literally,

697
00:39:05,000 --> 00:39:07,239
Speaker 1: um yeah, that was like the best moment. And so

698
00:39:07,400 --> 00:39:09,040
Speaker 1: I getting this guy's truck when right out to the

699
00:39:09,080 --> 00:39:13,400
Speaker 1: swamp and uh, leaky roof, no power. Um, you know,

700
00:39:13,560 --> 00:39:16,239
Speaker 1: same thing we always are dealing with UM, but yeah,

701
00:39:16,320 --> 00:39:18,000
Speaker 1: they're in the corner and like a dry corner was

702
00:39:18,040 --> 00:39:20,880
Speaker 1: like this quadruplex and a bunch of other stuff that

703
00:39:20,920 --> 00:39:23,319
Speaker 1: was really useful to have to we were able to

704
00:39:23,400 --> 00:39:26,680
Speaker 1: kind of tinker and get it to work, and UM

705
00:39:26,719 --> 00:39:30,200
Speaker 1: that was my That's by far my my like dries

706
00:39:30,239 --> 00:39:32,920
Speaker 1: possession of all the things I've ever found. Yeah, I

707
00:39:32,960 --> 00:39:36,200
Speaker 1: love it. It's uh, sort of the sort of challenges

708
00:39:36,239 --> 00:39:40,000
Speaker 1: you don't necessarily anticipate until you encounter one of those

709
00:39:40,040 --> 00:39:46,280
Speaker 1: autour directors who has that that strong dependence upon authenticity.

710
00:39:46,320 --> 00:39:50,560
Speaker 1: I'm sick of control panels. That's another Yeah, Like season

711
00:39:50,600 --> 00:39:54,279
Speaker 1: two is uh yeah, you guys will see when that

712
00:39:54,360 --> 00:39:57,360
Speaker 1: comes out, But there's a we did a whole control

713
00:39:57,400 --> 00:40:00,400
Speaker 1: panel in the riff lab this time that we needed

714
00:40:00,440 --> 00:40:03,279
Speaker 1: to be able to really control rather than getting prop ones,

715
00:40:03,360 --> 00:40:04,880
Speaker 1: which is kind of what we had the first season

716
00:40:04,920 --> 00:40:07,520
Speaker 1: and something I was never really that happy with UM.

717
00:40:08,400 --> 00:40:13,400
Speaker 1: I had probably the bad idea of UM designing my

718
00:40:13,640 --> 00:40:17,160
Speaker 1: very own UM control fannel with all these separate like

719
00:40:17,280 --> 00:40:20,759
Speaker 1: old boat led lights and indicator lights and all these

720
00:40:20,760 --> 00:40:22,960
Speaker 1: different things that I was trying to get John in

721
00:40:23,040 --> 00:40:25,920
Speaker 1: like really early last season to help start like figuring

722
00:40:25,920 --> 00:40:28,080
Speaker 1: out how we were going to empower each one and

723
00:40:28,120 --> 00:40:30,680
Speaker 1: have each one on a separate control. I was told

724
00:40:31,440 --> 00:40:34,360
Speaker 1: there would be no flickering season two because I was

725
00:40:34,400 --> 00:40:40,920
Speaker 1: a big, big expense for production. And then then the

726
00:40:41,239 --> 00:40:45,719
Speaker 1: board is a flickering mess of like yeah, like I

727
00:40:45,719 --> 00:40:47,279
Speaker 1: feel like I feel like a little bit of it

728
00:40:47,280 --> 00:40:50,040
Speaker 1: has been spoiled for me, but I will. I'll go

729
00:40:50,080 --> 00:40:52,400
Speaker 1: into it just knowing there may be a flicker or

730
00:40:52,400 --> 00:40:56,560
Speaker 1: two in season two. I don't know. I haven't seen

731
00:40:56,600 --> 00:40:58,640
Speaker 1: any of the footage, so I'm not sure. Yeah, maybe

732
00:40:58,680 --> 00:41:01,600
Speaker 1: that all got cut. I wasn't even or when it happened. Yeah,

733
00:41:01,680 --> 00:41:03,600
Speaker 1: that was kind of a nightmare. And um, we've done

734
00:41:03,640 --> 00:41:07,360
Speaker 1: all kinds of like even season one, um in the quarry,

735
00:41:08,600 --> 00:41:10,799
Speaker 1: which you would think like that's you know, probably not

736
00:41:10,840 --> 00:41:12,960
Speaker 1: even that much from a set deck standpoint and there,

737
00:41:13,000 --> 00:41:16,560
Speaker 1: and there wasn't except they wanted to light some of

738
00:41:16,600 --> 00:41:19,400
Speaker 1: that scene with search and rescue where they find um

739
00:41:19,520 --> 00:41:24,000
Speaker 1: Will's body or not real body, but you know, um,

740
00:41:24,040 --> 00:41:26,400
Speaker 1: they wanted to light that practically, and so we needed

741
00:41:26,520 --> 00:41:31,120
Speaker 1: period whacker lights. Um. And just like the logistics of

742
00:41:31,160 --> 00:41:34,279
Speaker 1: like me me finding the lights that were there, right,

743
00:41:36,960 --> 00:41:39,480
Speaker 1: government auctions is my other go to UM and so

744
00:41:39,520 --> 00:41:43,000
Speaker 1: we found something like Tennessee since since transpoke guys up

745
00:41:43,000 --> 00:41:44,879
Speaker 1: there to go pick them up and bring them back.

746
00:41:44,920 --> 00:41:47,560
Speaker 1: And then just John assessing that for the first time,

747
00:41:47,680 --> 00:41:51,080
Speaker 1: is you know this like archaic mess of wires and

748
00:41:51,160 --> 00:41:54,399
Speaker 1: different things and UM. But he rewired those and they

749
00:41:54,400 --> 00:41:58,520
Speaker 1: looked great on camera. It's kind of funny. I I

750
00:41:58,560 --> 00:42:01,800
Speaker 1: did an interview it's actually going to be the episode

751
00:42:01,800 --> 00:42:06,239
Speaker 1: that follows this one, uh, with a guy who was

752
00:42:06,480 --> 00:42:10,200
Speaker 1: hired to to write a full kind of like a

753
00:42:10,239 --> 00:42:14,800
Speaker 1: workshop manual of the Ghostbusters technology. And he was given

754
00:42:14,840 --> 00:42:17,160
Speaker 1: full access to all the different props and stuff. But

755
00:42:17,160 --> 00:42:20,120
Speaker 1: it was his job to figure out not just what

756
00:42:20,160 --> 00:42:23,320
Speaker 1: the stuff was, but what it used to be and

757
00:42:23,640 --> 00:42:25,919
Speaker 1: how it actually works in real life and then how

758
00:42:26,080 --> 00:42:30,560
Speaker 1: was it in in the mythology of Ghostbusters altered so

759
00:42:30,600 --> 00:42:33,000
Speaker 1: that it works for that. And he started looking at

760
00:42:33,040 --> 00:42:35,120
Speaker 1: all the different pieces like just imagine the top of

761
00:42:35,160 --> 00:42:38,319
Speaker 1: Ecto one, like the top of that car and all

762
00:42:38,360 --> 00:42:41,160
Speaker 1: the different coutrement that we're on top of it, and

763
00:42:41,160 --> 00:42:44,560
Speaker 1: he had to source all of that and he says, yeah,

764
00:42:44,800 --> 00:42:49,400
Speaker 1: they went to a junkyard that outside of a NASA

765
00:42:49,520 --> 00:42:52,560
Speaker 1: site and they got all of that and I had

766
00:42:52,560 --> 00:42:55,640
Speaker 1: to figure out what they were And then how does

767
00:42:55,640 --> 00:42:59,000
Speaker 1: that help you catch ghosts? Is there really a junkyard

768
00:42:59,000 --> 00:43:03,000
Speaker 1: outside of nasasite? That sounds amazing? And I'll put you

769
00:43:03,040 --> 00:43:05,640
Speaker 1: in touch with him because he can tell you where

770
00:43:05,680 --> 00:43:08,920
Speaker 1: they went to get all the different pieces because they

771
00:43:09,000 --> 00:43:11,480
Speaker 1: had like various pieces of sonart they had They had

772
00:43:11,520 --> 00:43:16,400
Speaker 1: an old uh uh. I think it was like an

773
00:43:16,440 --> 00:43:21,080
Speaker 1: old ground to air missile launch case. There was nothing

774
00:43:21,120 --> 00:43:24,120
Speaker 1: in it because apparently that would be bad to get

775
00:43:24,120 --> 00:43:27,520
Speaker 1: out there. But yeah, so there's Yeah, I'll get you

776
00:43:27,520 --> 00:43:29,160
Speaker 1: in touch with him because he can certainly tell you

777
00:43:29,200 --> 00:43:32,440
Speaker 1: more about where they sourced all that stuff because it

778
00:43:32,480 --> 00:43:35,160
Speaker 1: was it was somewhere out west, I know. But um

779
00:43:35,320 --> 00:43:37,920
Speaker 1: and keep in mind Ghostbusters were made back in the

780
00:43:37,920 --> 00:43:41,759
Speaker 1: early eighties, so maybe they've tightened up since then. But

781
00:43:41,840 --> 00:43:44,879
Speaker 1: it was pretty it was pretty incredible. Uh And yeah,

782
00:43:45,080 --> 00:43:48,040
Speaker 1: learning about that like that, that experience of having to

783
00:43:48,760 --> 00:43:53,000
Speaker 1: uh to to really find out the way sources sometimes

784
00:43:53,280 --> 00:43:57,640
Speaker 1: is fascinating to me because I hold onto stuff fairly

785
00:43:57,880 --> 00:44:01,080
Speaker 1: for a fairly long time. But I mean it's just

786
00:44:01,239 --> 00:44:03,239
Speaker 1: technology is just one of those things that goes obsolete

787
00:44:03,320 --> 00:44:07,080
Speaker 1: so quickly. And uh and Also, there's just so many

788
00:44:07,120 --> 00:44:10,400
Speaker 1: different parts that if any one part fails, the average

789
00:44:10,440 --> 00:44:13,719
Speaker 1: person is more likely to either go out and buy

790
00:44:13,719 --> 00:44:15,279
Speaker 1: a new one and just throw the old one away,

791
00:44:15,360 --> 00:44:17,719
Speaker 1: or just do without, because a repair tends to be

792
00:44:17,760 --> 00:44:19,719
Speaker 1: about the same amount of money as it would cost

793
00:44:19,719 --> 00:44:21,319
Speaker 1: to just buy a new one anyway for a lot

794
00:44:21,320 --> 00:44:24,680
Speaker 1: of the older tech, So I imagine it gets really tricky,

795
00:44:24,800 --> 00:44:27,080
Speaker 1: especially if they want something that's gonna work on screen,

796
00:44:27,120 --> 00:44:29,440
Speaker 1: if it's something that's just going to be like, all right,

797
00:44:29,440 --> 00:44:32,000
Speaker 1: well we just need this this washer dryer that was

798
00:44:32,280 --> 00:44:33,759
Speaker 1: back then, but they're never you're going to use it.

799
00:44:33,800 --> 00:44:35,440
Speaker 1: We just need in the background. I guess that's one thing,

800
00:44:35,480 --> 00:44:37,160
Speaker 1: but I like, we need a working one. That's a

801
00:44:37,200 --> 00:44:41,920
Speaker 1: totally different thing. Yeah, it's uh. This season two has

802
00:44:41,960 --> 00:44:44,560
Speaker 1: a lot of well, we have the Arcade, which has

803
00:44:45,200 --> 00:44:47,640
Speaker 1: John and I. Early on we were getting the scripts

804
00:44:47,640 --> 00:44:50,160
Speaker 1: and stuff with season two talking about like how to

805
00:44:50,239 --> 00:44:54,359
Speaker 1: get arcade cabinets that were in good enough shape or

806
00:44:54,440 --> 00:44:56,200
Speaker 1: you know, when we get real ones, and then there's

807
00:44:56,200 --> 00:44:58,560
Speaker 1: all this Um I don't know if like the average

808
00:44:58,640 --> 00:45:01,160
Speaker 1: viewer knows, but like playback, Um, it's a thing that

809
00:45:01,200 --> 00:45:04,640
Speaker 1: we deal with constantly on Stranger things. It's um the

810
00:45:04,640 --> 00:45:09,400
Speaker 1: frame rate adjustment and stuff on various like screens and monitors.

811
00:45:09,440 --> 00:45:12,600
Speaker 1: So your screen that you're you're shooting is refreshing at

812
00:45:12,600 --> 00:45:15,279
Speaker 1: a certain rate, the camera is going at a certain rate,

813
00:45:15,320 --> 00:45:17,080
Speaker 1: and if that doesn't match up, probably that's when you

814
00:45:17,080 --> 00:45:20,240
Speaker 1: start getting those weird lines that start scrolling across the screen,

815
00:45:20,520 --> 00:45:25,120
Speaker 1: which is realistic, but it's distracting because now you realize

816
00:45:25,120 --> 00:45:27,880
Speaker 1: you're looking through the lens of a camera as opposed

817
00:45:27,880 --> 00:45:30,239
Speaker 1: to being an observer and a scene. So we have

818
00:45:30,320 --> 00:45:32,720
Speaker 1: to fix that, all right, and so and and even

819
00:45:33,000 --> 00:45:38,400
Speaker 1: UM season one was similar to the there's various UM

820
00:45:38,400 --> 00:45:42,040
Speaker 1: security rooms like at Hawkins Lab and we I think

821
00:45:42,080 --> 00:45:45,400
Speaker 1: I feel like I've bought every Commodore sixty four available

822
00:45:45,400 --> 00:45:47,879
Speaker 1: because there they tend to be fairly reliable and easy

823
00:45:47,920 --> 00:45:50,799
Speaker 1: to work with and you can input various things into them.

824
00:45:50,800 --> 00:45:54,839
Speaker 1: And UM, so doing something similar, you know, a lot

825
00:45:54,880 --> 00:45:57,200
Speaker 1: of I think a lot of productions probably would have

826
00:45:57,200 --> 00:46:00,759
Speaker 1: put like L E. D screens or CB you know,

827
00:46:01,080 --> 00:46:03,560
Speaker 1: they would have updated with new technology and not dealt

828
00:46:03,600 --> 00:46:07,600
Speaker 1: with the playback aspect of running through like CRT monitors

829
00:46:07,640 --> 00:46:10,560
Speaker 1: with whatever we need to show on screen. UM, but

830
00:46:10,640 --> 00:46:12,920
Speaker 1: we're we try to be as authentic as possible and

831
00:46:12,920 --> 00:46:15,520
Speaker 1: stranger things, and so there's just a lot of our

832
00:46:15,520 --> 00:46:18,200
Speaker 1: playback guy was always present. I felt like on every

833
00:46:18,280 --> 00:46:21,360
Speaker 1: set it was always like real monitors. Um. Same with

834
00:46:21,400 --> 00:46:25,040
Speaker 1: the arcade, and we did it all pretty practically, um,

835
00:46:25,200 --> 00:46:29,000
Speaker 1: leaving a lot of those those old monitors inside the

836
00:46:29,040 --> 00:46:31,640
Speaker 1: cabinets and then just like running stuff through them and

837
00:46:32,440 --> 00:46:36,160
Speaker 1: adjusting the frame rate. That's great, I mean again, I

838
00:46:36,239 --> 00:46:39,760
Speaker 1: just to me, that stuff definitely pays off. Like again,

839
00:46:39,840 --> 00:46:43,320
Speaker 1: it gives that that feel that you want and uh,

840
00:46:43,440 --> 00:46:47,120
Speaker 1: that that sense that you're watching something that was made

841
00:46:47,200 --> 00:46:51,600
Speaker 1: years ago, um and yet with a modern sensibility. So

842
00:46:51,880 --> 00:46:54,759
Speaker 1: it's anyone who grew up around the same time I did,

843
00:46:54,800 --> 00:46:58,279
Speaker 1: I think, just has that deep connection when they see

844
00:46:58,320 --> 00:47:00,640
Speaker 1: this there, you know, because it feels very buil Burgie

845
00:47:00,680 --> 00:47:03,120
Speaker 1: in in many ways. You know, it's just it's very

846
00:47:03,160 --> 00:47:07,200
Speaker 1: evocative of those uh, those great films and TV series

847
00:47:07,239 --> 00:47:10,280
Speaker 1: in the eighties. So you guys did a phenomenal work

848
00:47:10,480 --> 00:47:13,920
Speaker 1: to recapture that and to make it feel like it

849
00:47:13,960 --> 00:47:16,960
Speaker 1: was on screen. It looks effortless. I know that that's

850
00:47:17,040 --> 00:47:20,200
Speaker 1: exactly the opposite of what it really was. It was very,

851
00:47:20,320 --> 00:47:25,680
Speaker 1: very full of effort, but from an audience perspective, um,

852
00:47:25,800 --> 00:47:28,680
Speaker 1: it just it just works so well. So I'm really

853
00:47:28,680 --> 00:47:31,960
Speaker 1: looking forward to season two. We keep hearing rumors about

854
00:47:31,960 --> 00:47:33,600
Speaker 1: how many seasons they are going to be. I think

855
00:47:33,600 --> 00:47:35,480
Speaker 1: there need to be as many seasons as there need

856
00:47:35,520 --> 00:47:37,839
Speaker 1: to be to tell a story and then we can

857
00:47:38,760 --> 00:47:41,439
Speaker 1: we can close the chapter on that book and want more.

858
00:47:41,719 --> 00:47:46,040
Speaker 1: I'm happy with that. We'll see because who knows what

859
00:47:46,040 --> 00:47:48,319
Speaker 1: what will happen down the line. But I am so

860
00:47:49,040 --> 00:47:53,440
Speaker 1: really excited to see season two and beyond. And if

861
00:47:53,480 --> 00:47:56,080
Speaker 1: you if you put a word in for they need

862
00:47:56,560 --> 00:47:59,440
Speaker 1: a bald guy as an extra, you know, even if

863
00:47:59,440 --> 00:48:02,560
Speaker 1: he's just screw in a light bulb in the background.

864
00:48:03,200 --> 00:48:06,960
Speaker 1: I'm local, I'm right here, I know, I know Randy.

865
00:48:07,040 --> 00:48:09,759
Speaker 1: So Randy and I go way back. I can. It's

866
00:48:09,840 --> 00:48:12,600
Speaker 1: just throwing it out there. Maybe Randy needs an assistant, yeah,

867
00:48:12,600 --> 00:48:16,279
Speaker 1: who knows, or maybe just like a guy to like

868
00:48:16,640 --> 00:48:20,280
Speaker 1: deal with all the insanely attractive women that he's dating.

869
00:48:20,360 --> 00:48:24,279
Speaker 1: It's phenomenal. Really, It's like we had a discussion with

870
00:48:24,360 --> 00:48:26,680
Speaker 1: him about that. Like that was to me, like everything

871
00:48:26,760 --> 00:48:31,440
Speaker 1: was believable up until they showed you. Like I was

872
00:48:31,480 --> 00:48:34,160
Speaker 1: buying into it, right into that, and he's like, thanks Jonathan,

873
00:48:34,280 --> 00:48:38,520
Speaker 1: thanks a lot, You're welcome, Randy, very good guy. Thank

874
00:48:38,560 --> 00:48:41,440
Speaker 1: you Jess and John for joining me on this show.

875
00:48:41,520 --> 00:48:44,920
Speaker 1: I really appreciate the opportunity to explore what it is

876
00:48:45,000 --> 00:48:48,000
Speaker 1: you do and get a deeper appreciation for the work

877
00:48:48,040 --> 00:48:52,400
Speaker 1: that goes on behind the scenes. And uh, this was phenomenal.

878
00:48:52,440 --> 00:48:55,640
Speaker 1: I wish you guys the best of luck and success

879
00:48:55,680 --> 00:48:58,520
Speaker 1: in the future, and maybe we'll have you on again

880
00:48:58,560 --> 00:49:01,440
Speaker 1: at some point. We'll talk about some other crazy stuff

881
00:49:01,480 --> 00:49:04,560
Speaker 1: like you know, let me tell you what now is

882
00:49:04,600 --> 00:49:07,680
Speaker 1: the hardest props I've ever had to find. You never

883
00:49:07,719 --> 00:49:10,600
Speaker 1: know when that story is gonna change. Well, thank you

884
00:49:10,600 --> 00:49:13,440
Speaker 1: guys again, Thank you. I hope you guys enjoyed that

885
00:49:13,520 --> 00:49:17,600
Speaker 1: episode of text Stuff. We've got a lot more coming

886
00:49:17,840 --> 00:49:20,560
Speaker 1: and let me know what you guys think if there

887
00:49:20,600 --> 00:49:23,120
Speaker 1: are things you would like me to cover as we

888
00:49:23,520 --> 00:49:25,760
Speaker 1: go through all this. I've got a big series about

889
00:49:25,800 --> 00:49:29,000
Speaker 1: the PlayStation coming up soon. But if there are any

890
00:49:29,000 --> 00:49:31,399
Speaker 1: other topics you would like me to cover, reach out

891
00:49:31,560 --> 00:49:34,040
Speaker 1: on Facebook or Twitter. The handle for both is tech

892
00:49:34,080 --> 00:49:36,719
Speaker 1: Stuff HSW and I'll talk to you again really soon.

893
00:49:41,480 --> 00:49:44,520
Speaker 1: Text Stuff is an I heart radio production. For more

894
00:49:44,600 --> 00:49:48,000
Speaker 1: podcasts from My heart Radio, visit the I heart Radio app,

895
00:49:48,120 --> 00:49:51,280
Speaker 1: Apple podcasts, or wherever you listen to your favorite shows.