Pod Insights Stuff You Should Know SYSK’s Summer Movie Playlist: Special Effects: A Short History About this episode Special effects have been around since the first movies. In fact, the techniques the earliest filmmakers created are still around today, we just use computers to do them faster and cheaper. Put on your beret and get ready for SYSK film class.
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Transcript 11,678 words · 7 speakers
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0:00 Speaker 00 This is an iHeart Podcast. Guaranteed Human.
0:04 Josh Clark? Buy smart, drive for less and trade for more. That's Toyota affordability and it starts with a great deal on an off-road ready Tacoma or half ton Tundra, two of Toyota's longest lasting trucks, combining power for work, tech for adventures and style in between. And they're built on a reputation for quality and reliability, which is why Toyota trucks are known for holding their value, which could mean big savings when it's time for your next Toyota. So get a great deal today and a great value tomorrow. Shop toyota.com for more. Toyota, let's go places. Let's be real, eating is a huge part of our lives. It fuels us, it brings us together. And yes, it's one of life's great pleasures. But once a meal's over, we don't think much about what happens next unless something starts to feel off. Introducing Eating Interrupted,
0:49 Josh Clark? a new podcast from iHeart Ruby Studio, hosted by longtime journalist and Crohn's patient Cynthia McFadden. Listen in to unpack what it means when your body doesn't always respond to food the way you expect and what science is now revealing about why. Listen to Eating Interrupted on the iHeart app, Apple Podcasts, or wherever you get your podcasts. Hey everybody, welcome back to the playlist. It's me Josh and this episode is all about special effects. We tried to cram as much as we possibly could into this episode and there's a lot to talk about with special effects. And there's all sorts of different kinds of special effects. Most of the stuff we think of today is all CGI, but that's built on things that people used to have to build with their own hands to make amazing
1:31 Josh Clark? movies look believable. I hope you enjoy this episode and I hope you've enjoyed this playlist.
1:38 Speaker 02 Welcome to Stuff You Should Know, a production of iHeart Radio.
1:48 Josh Clark? Hey, and welcome to the podcast. I'm Josh Clark. There's Charles W. Chuck Bryant wearing his Stone Temple Pilots hat. And there's Jerry over there. She's not wearing any hat. She's got really cool hair.
1:59 Speaker 03 It's not Stone Temple Pilots.
2:00 Josh Clark? It is too. I've seen the Stone Temple Pilots hats before and that's one.
2:04 Speaker 03 It is STP because I bought two hats at AutoZone yesterday.
2:11 Josh Clark? I have a Champion Spark Plug hat.
2:12 Speaker 03 Yeah, they have good hats.
2:14 Josh Clark? They really do.
2:14 Speaker 03 I was getting a battery and I was like, I want these two hats. It was a Goodyear, Akron, Ohio, Goodyear hat.
2:19 Josh Clark? Nice.
2:20 Speaker 03 Which is where Emily's from.
2:21 Josh Clark? Sure.
2:22 Speaker 03 So I wanted that. And then I saw this STP hat.
2:24 Josh Clark? Stone Temple Pilots.
2:25 Speaker 03 But I would get a Champion Spark Plug hat, too. Those are, that's, that's great.
2:29 Josh Clark? Okay, I'll let you borrow mine anytime you want. Just gotta give it back.
2:32 Speaker 03 I don't know if I've ever seen you in a baseball cap.
2:35 Josh Clark? Uh, it's a weird jam.
2:36 Speaker 03 Is it?
2:37 Josh Clark? Not what you wanna see.
2:38 Speaker 03 I've seen you in shorts like twice in 12 years.
2:42 Josh Clark? I keep the legs covered.
2:43 Speaker 03 And I think one of them was when you came over to borrow my lawnmower.
2:47 Josh Clark? I remember that, yeah.
2:49 Speaker 03 Like nine years ago.
2:50 Josh Clark? Sure, I've gotta mow the lawn sometimes.
2:52 Speaker 03 Now things have changed. You can buy a lawnmower.
2:54 Josh Clark? Yeah.
2:57 Speaker 03 That's where we're at now. We can afford lawnmowers.
2:58 Josh Clark? I can wear shorts, too. I actually have one of those plug-in lawnmowers.
3:02 Speaker 03 I have a battery-powered lawnmower.
3:04 Josh Clark? Do you?
3:04 Speaker 03 Look at us, stupid liberal hippies.
3:06 Josh Clark? Well, mine's, mine's battery-powered, too, but you have to plug it in and charge it.
3:10 Speaker 03 Oh, yeah, yeah.
3:11 Josh Clark? What, what kind do you have?
3:12 Speaker 03 I have the green one.
3:13 Josh Clark? Yeah, I think they're all green.
3:15 Speaker 03 No, there's a blue one.
3:16 Josh Clark? Oh, I've got the green one, too. The Sun Joe?
3:18 Speaker 03 No, but I have a Sun Joe pressure washer.
3:21 Josh Clark? Do you really? Is it battery-operated?
3:23 Speaker 03 No, you plug that in.
3:24 Josh Clark? I was gonna say, I'll bet it just goes, like, tinkles out water.
3:27 Speaker 03 But they do make, uh, plug-in lawnmowers, like, it's not a battery, you just
3:31 Josh Clark? Right.
3:32 Speaker 03 like have a cord that you walk around with.
3:33 Josh Clark? And run over with your lawnmower.
3:35 Speaker 03 I guess they're called electric.
3:37 Josh Clark? Sure.
3:38 Speaker 03 But yeah, I got the battery one, cause I have so little grass now, and we may be done, period, with grass.
3:43 Josh Clark? Oh, yeah, that's right, you're zirescaping.
3:45 Speaker 03 Well, we're definitely doing the front, but the back, it just got smaller and smaller. And I, my last lawnmower broke, so I was paying a guy to come cut it. I was like, why am I paying this guy to cut, to do a seven-minute mow?
3:57 Josh Clark? There's just that one blade of gla- of grass that sees the lawnmower coming, it's like, mother.
4:02 Speaker 03 Yeah, but then I went and got the battery one, cause lawnmowers are terrible for the environment.
4:06 Josh Clark? Yeah, that's why I got a
4:07 Speaker 03 They're one of the worst polluters.
4:09 Josh Clark? Yeah, we're both also aware that we are charging our battery-powered lawnmowers with coal-fired power.
4:17 Speaker 03 Yes, and we understand that.
4:18 Josh Clark? We know.
4:18 Speaker 03 I'm just talking about exasphiums.
4:20 Josh Clark? I don't even need one. I live in a condo, but I'm so dissatisfied with the landscapers that take care of the condo that I bought Yes, I bought a lawnmower just to do the little patch out in front of our building.
4:32 Speaker 03 Wow.
4:33 Josh Clark? Poor Momo doesn't get long grass against her junk when she's potty.
4:39 Speaker 03 This is a great way to start this episode.
4:41 Josh Clark? So we're talking special effects, obviously.
4:42 Speaker 03 This has been Lawn Talk.
4:45 Josh Clark? We're talking special effects, Chuck.
4:47 Speaker 03 Yes, movie special effects, which, uh, boy, I mean, we could do ten parts on this. This is kind of a big summation, because movie special effects can be everything from the movie that you walk out of saying, "Oh, that movie had no special effects," when in fact it did.
5:04 Josh Clark? Yeah, wrong.
5:05 Speaker 03 Yeah, just tiny little things that you may not even notice, to things that are almost whole cloth special effects, like Sky Captain and the World of Tomorrow.
5:13 Josh Clark? Yeah, or Sin City.
5:15 Speaker 03 Yeah, I like both of those.
5:16 Josh Clark? Yes. Did you know Sin City, every single bit of the set was CGI?
5:20 Speaker 03 Yeah, and then Sky Captain did it first.
5:23 Josh Clark? Yeah, a year before, huh?
5:24 Speaker 03 Yep, every bit of that, it was a green screen movie.
5:27 Josh Clark? I never saw it, was it good?
5:28 Speaker 03 Uh, it was interesting, like, the look of it was amazing, and very much ahead of its time.
5:33 Josh Clark? Like, real art deco, right?
5:34 Speaker 03 Yeah, for sure. I call it black and white, but it wasn't, it was just this really washed-out color.
5:39 Josh Clark? Yeah.
5:40 Speaker 03 But it looked awesome, and was not bad.
5:42 Josh Clark? Nice, I'll have to check it out.
5:44 Speaker 03 And I think the dudes that made that kind of quit making movies after that, it's a very unique story.
5:48 Josh Clark? Have you ever seen, this has nothing to do with anything, but have you seen The Changeling, George C. Scott?
5:53 Speaker 03 Yeah, sure.
5:54 Josh Clark? Oh, my god.
5:55 Speaker 03 Did you just see that?
5:56 Josh Clark? Yes, and I have to tell you, I don't think I've ever gotten chills more frequently from a movie than I did with that one.
6:04 Speaker 03 Changeling's great.
6:05 Josh Clark? It is genuinely, it's a genuinely scary ghost story.
6:09 Speaker 03 Yeah.
6:09 Josh Clark? Like, it is wonderful.
6:11 Speaker 03 Yeah, I miss George C. Scott, too.
6:12 Josh Clark? Yeah, he's a good actor. And I don't remember who the, um, the female lead was in there, but she was great, too.
6:20 Speaker 03 Hmm, it's been a while, I haven't seen it, in many, many years.
6:23 Josh Clark? So, anyway, special effects, let's try this again.
6:27 Speaker 03 Yes.
6:28 Josh Clark? We're gonna get derailed, like, every five seconds, aren't we?
6:31 Speaker 03 Uh, effects are divided, and this is by The Grabster, he helped us out with this, Ed's a big movie guy and horror movie sci-fi guy.
6:37 Josh Clark? Sure.
6:38 Speaker 03 So he probably enjoyed writing this one up. Uh, they're divided into three general categories, and this all has to do with where the effect is happening.
6:46 Josh Clark? Right.
6:46 Speaker 03 Uh, it can be practical, uh, which is in front of the camera, and that means it's a physical thing that's happening.
6:52 Josh Clark? I think that's what most people think of when they think special effects.
6:55 Speaker 03 You think?
6:55 Josh Clark? Sure.
6:56 Speaker 03 Okay.
6:56 Josh Clark? By most people, I mean me.
6:59 Speaker 03 In-camera effects that happen inside the camera. And then post-production effects. And many times you're using one or all three of these.
7:07 Josh Clark? Right, right. So with like practical effects, it's things like, um, like makeup and prosthetics. Like Ed uses the example of David Lynch's The Elephant Man. Like the prosthetic makeup that was used to turn John Hurt or John Herd.
7:26 Josh Clark? Which one?
7:27 Speaker 03 Uh, Hurt.
7:28 Josh Clark? Into Joseph Merrick.
7:31 Speaker 03 Yes.
7:32 Josh Clark? That's a special effect. An explosion on set, that's a special effect. A, um, a blood packet to make it look like somebody just got shot in the chest.
7:41 Speaker 03 A squib.
7:42 Josh Clark? That's a special effect. All three of those are practical effects. They're actually happening in the physical world in front of you on set. Being captured on film. That's a practical special effect.
7:52 Speaker 03 Yeah, and the other one I wanted to mention there that you might not think of is stuff like if there is a, uh, a fire, like a fireplace in a scene. And then you flip the camera around to show the people and you see that fire shimmering on the wall. That's a practical effect too. Little things like that.
8:09 Josh Clark? But it's lighting. It's a lighting effect.
8:11 Speaker 03 Yeah, or it's a fire. Like, you know, those aren't real fires.
8:14 Josh Clark? Yeah.
8:14 Speaker 03 I mean, it's real fire.
8:15 Josh Clark? Somebody should put that out.
8:17 Speaker 03 But it's not like someone lights a bunch of wood. They put fake wood and they have these, uh, fire bars. That it's like what you have under your grill, basically.
8:26 Josh Clark? Right.
8:26 Speaker 03 And they hide those and then that's your fire.
8:29 Josh Clark? Sure.
8:30 Speaker 03 Cause it has to look perfect. You can't just chance somebody not being able to start a fire or looking wonky. That's why movie fires look perfect.
8:37 Josh Clark? Yeah.
8:37 Speaker 03 Cause they're fake.
8:38 Josh Clark? They are kind of dreamy. They're so good. So in-camera effects is just basically messing with the way the film is being produced inside the camera. What, not what's going on in reality that the film is capturing, but how the film is actually capturing this stuff.
8:56 Speaker 03 Yeah, slow motion is a special effect, in-camera special effect.
8:59 Josh Clark? Yeah, or fast motion too, which is 10 times more hilarious than fast motion if you ask me. Like where would the Munsters be without fast motion?
9:07 Speaker 03 Yeah.
9:08 Josh Clark? You know?
9:08 Speaker 03 Or Benny Hill, for God's sakes.
9:10 Josh Clark? Sure.
9:10 Speaker 03 That lived and breathed on fast motion.
9:14 Speaker 03 What else can you do there? You can, and we'll see this on some of the early special effects, like stopping the film, changing something, starting it again.
9:24 Josh Clark? Right, like Bewitched, appearing out of nowhere.
9:26 Speaker 03 Yeah, that's a special, in-camera special effect.
9:29 Josh Clark? Yeah, one thing that struck me about all this from researching this is how the basis, the foundation for special effects was laid immediately upon like motion pictures being like created.
9:43 Speaker 03 Yeah.
9:43 Josh Clark? Like the whole industry, not even the industry, before the industry existed. But basically after the invention of motion pictures. And that it stayed virtually the same until the 90s.
9:55 Speaker 03 Uh, yeah.
9:55 Josh Clark? People refined it and got better at it and techniques got more.
9:59 Speaker 03 The same general crafts were used.
10:01 Josh Clark? Very much so.
10:02 Speaker 03 Which is why craft service is called craft service.
10:05 Josh Clark? Oh, yeah.
10:05 Speaker 03 Because each department has their own craft.
10:08 Josh Clark? Oh, I didn't know that.
10:09 Speaker 03 And they're there to serve them pizza rolls.
10:11 Josh Clark? Yeah, man.
10:13 Speaker 03 Or whatever.
10:13 Josh Clark? You can put on some weight filming something, I'll tell you that firsthand. Oh, my god.
10:18 Speaker 03 So, stop-motion animation, that is an in-camera effect. You're moving a little clay figure or whatever, a doll or a King Kong.
10:26 Josh Clark? A raisin.
10:27 Speaker 03 One, a California raisin, one frame at a time, 24 frames per second.
10:31 Josh Clark? Can you imagine? Didn't you do that with your brother, with G.I. Joe?
10:34 Speaker 03 I did, and then years later, I did a little Star Wars thing when I got a Hi-8 video camera. And spent like three days working on something that ended up being nine seconds long, and I said, I'm done.
10:46 Josh Clark? What's funny is you're gonna get a cease and desist letter from Lucasfilm after talking about this in the podcast.
10:51 Speaker 03 I might. And then we have post-production effects, and that is, I think that's what a lot of people think of as special effects these days.
10:59 Josh Clark? Really?
10:59 Speaker 03 Because that's all the CGI stuff that you will see is all happens in post-production.
11:04 Josh Clark? Okay, all right, yes, these days, I gotcha. Like, almost all special effects happens in post these days, right?
11:10 Speaker 03 Well, no, they still combine some of the old crafts as well, but yeah, surely a lot of it is CGI.
11:15 Josh Clark? I mean, computers can do some amazing stuff.
11:18 Speaker 03 They can.
11:18 Josh Clark? I mean, stuff that used to take months to do, a computer can do in hours now and do it a million times better.
11:25 Speaker 03 Yeah.
11:26 Josh Clark? So, depending on your taste, I should say.
11:30 Speaker 03 That's right.
11:31 Josh Clark? So, those are the big three, practical, in-camera, and post-production. And like I was saying, like, the basis of special effects was founded
11:43 Josh Clark? Like in the 19th century.
11:45 Speaker 03 Yeah.
11:45 Josh Clark? There were just some people who had kind of followed in a tradition of still photography. Still photographers by that time had already figured out some cool stuff that you could do messing around with cameras. Something like double exposure where you take a picture of one thing and then take a picture of another thing with the previously exposed film and all of a sudden it looks like there's a ghost looming behind you.
12:06 Speaker 03 That's right.
12:07 Josh Clark? Stuff like that. So, out of the gate, when motion pictures were, um, started to become a little widespread and people could afford them and try messing around with them, they had a basis of trickery to begin with. But there's a lot of stuff you can do with motion picture cameras that you can't do with still photo cameras. And they figured this out right away.
12:27 Speaker 03 Yeah, that first guy, uh, who's credited as the first special effect is Alfred Clark. And then, uh, they don't have the year exactly right. It's either 93, that's 1893.
12:39 Josh Clark? Yeah.
12:39 Speaker 03 Or 1895. Uh, he made a short film called The Execution of Mary, Queen of Scots. And he did that little stop trick, like I was saying, you shoot something, you stop the camera, you replace it, or you remove something, and then you start the camera and in real time, when you go to play it back, it's seamless.
12:57 Josh Clark? Right.
12:58 Speaker 03 And in his case, did you look at it?
12:59 Josh Clark? No, I didn't see that one.
13:01 Speaker 03 It's, uh, he uses a stop trick with Mary getting beheaded. And right when the axe is going to fall, you know, he switches her out for a dummy.
13:10 Josh Clark? Uh huh.
13:11 Speaker 03 Then starts the camera back up and he chops the dummy's head off.
13:13 Josh Clark? Right.
13:14 Speaker 03 And it's, it looks pretty good. Like you can't, there's no big weird jump.
13:17 Josh Clark? Right.
13:18 Speaker 03 He did, for 1893, he did a really good job.
13:21 Josh Clark? Yeah, and the key to that is just making sure that no one touches the camera or even breathes on it.
13:26 Speaker 03 Don't move.
13:27 Josh Clark? And then getting the dummy in the same position as the actor.
13:31 Speaker 03 Yeah, and in fact, as we'll talk about later, with matte paintings, it's so crucial that the camera not move that one technique was they used to bury the camera tripod, like a couple of feet into the earth.
13:43 Josh Clark? Makes sense.
13:43 Speaker 03 Just to make sure, like, no dum-dum PA bumps into it.
13:47 Josh Clark? That happens. So, um, Alfred Clark is credited with the first special effect, but a guy named Georges Meilié. Did I get it, Meilié?
13:59 Speaker 03 We should go ask Casey Pegram.
14:01 Josh Clark? Oh yeah, he would know.
14:02 Speaker 03 I think it's, uh, Millier.
14:05 Josh Clark? Oh, nice. I think you just nailed it. Georges Meliès. At any rate, this guy is known as the father of special effects.
14:14 Speaker 03 Yeah.
14:14 Josh Clark? He was very early on doing stuff that no one else was doing. You know, granted, there were very few people working in this field at the time.
14:24 Speaker 03 None of the five people did.
14:25 Josh Clark? But he was an illusionist and he said, "Oh, man, I can really do some amazing tricks with this camera." And he really put it to good use from a very early, like, I mean, turn of the last century.
14:36 Speaker 03 Yeah, he actually stumbled upon that little stop trick by accident. Uh, when he was shooting a street traffic scene in Paris. In 1896, the camera jams while, I think, a bus was coming across frame. He's like, "Mad!" Fixes the camera. Can we say that?
14:54 Josh Clark? Sure.
14:54 Speaker 03 All right.
14:55 Josh Clark? We don't have any French people listening to this.
14:57 Speaker 03 Yeah, that's true.
14:59 Speaker 03 Starts the camera back up and, of course, there's different things happening. And then when he went back to look at it, it's, he'd kind of just stumbled upon this weird little substitution splice that became part of filmmaking.
15:10 Josh Clark? Yeah, because by the time the, the camera had started up again, the bus was replaced by a hearse. So it looked like when he went back and watched it, the bus suddenly transformed into a hearse.
15:20 Speaker 03 And he said, "Wait till they get a load of Bewitched." Seventy-something years from now.
15:25 Josh Clark? Yeah. So, um...
15:26 Speaker 03 Or no, I guess, what was that, in the 50s?
15:28 Josh Clark? Eh, 60s.
15:29 Speaker 03 60s, all right.
15:29 Josh Clark? So you may not recognize Georges Meliès', oh, my God, at that time.
15:34 Speaker 03 I think so.
15:35 Josh Clark? Name.
15:37 Josh Clark? But you probably have heard of his work, like, A Trip to the Moon.
15:39 Speaker 03 Yeah.
15:40 Josh Clark? What's very widely cited is like, one of the first actual movies. I think it was in the 20-something minute range. But it was about some explorers in the Victorian era getting in a rocket and traveling to the moon. And the rocket lands in the man in the moon's eye.
15:55 Speaker 03 Yeah.
15:56 Josh Clark? Everybody's seen that. I don't care who you are, if you say you haven't, you have.
15:59 Speaker 03 Yeah.
16:01 Josh Clark? This was the guy who made that. And this is a very early movie. It was from 1902. But he was doing all sorts of amazing stuff. He was using extensive costuming, masks, um, all sorts of in-camera techniques.
16:15 Speaker 03 He was painting on film frames?
16:17 Josh Clark? Yeah. And this is 1902. And like I was saying, this stuff was refined, but it was the basis of special effects for the next century to come.
16:28 Speaker 03 Should we take a quick break?
16:29 Josh Clark? I think so.
16:29 Speaker 03 All right, let's take a quick break and we will talk a little bit about the mat technique right after this.
16:36 Josh Clark? I'm actually pretty psyched about this.
16:49 Josh Clark? Buy smart, drive for less, and trade for more. That's Toyota affordability, and it all starts with a great deal on a truck from your local Toyota dealer.
16:59 Speaker 03 That's right. Make a smart buy on the off-road Ready Tacoma or half-ton Tundra, two of Toyota's most capable and longest-lasting trucks, built with the strength for the tough jobs, the tech to power your next big adventure, and the rugged style for everything in between.
17:12 Josh Clark? Or discover Toyota's off-road lineup, including the iconic 4Runner and Land Cruiser, designed to go beyond the everyday. And with Toyota's proven reputation for quality and reliability, plus hybrid power on many models, you can get more for every mile and drive for less along the way.
17:27 Speaker 03 That's right. And long after you leave the lot, your Toyota keeps delivering with great resale value. So you can trade in for more when you're ready for your next Toyota. From a great deal today to a great value tomorrow, a Toyota is right for you. Shop toyota.com for deals and details, or stop by your local Toyota dealer today. Toyota, let's go places.
17:52 Josh Clark? Hey, everybody. The best pieces in your closet are the ones you can count on. Whether you're heading to work, or going out, or keeping things casual, in this time of year, Quince makes finding something great for everyone else just as easy. This holiday season, it's where you want to shop for yourself and everyone on your list.
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18:25 Josh Clark? Yeah, plus, everything at Quince is priced 50% to 80% less than similar brands. They work directly with ethical factories and cut out the middlemen, so you can give luxury-quality pieces without the luxury price tag.
18:37 Speaker 03 So give the gift of quality this holiday season. Download the Quince app for app-exclusive offers or go to quince.com, where you can get free shipping on your order and 365-day returns. Now available in Canada and the UK as well. And when Quince asks you where you heard about them, let them know it was stuff you should know. It's the best way to support the show.
19:01 Josh Clark? You know, eating is a huge part of our lives. It fuels us, it brings us together, and it's one of life's great pleasures. But once a meal's over, we don't think much about what happens next, unless something starts to feel off. Because what we eat and how our bodies respond to it is complicated.
19:17 Speaker 03 That's right. From the very first bite, food kicks off a chain reaction, signals moving between the gut, the brain, and the immune system. The constant back and forth we can't see and often don't fully understand. So we want to introduce to you Eating Interrupted, a new podcast from iHeart Ruby Studio. It's hosted by longtime journalist and Crohn's patient Cynthia McFadden. Eating Interrupted explores everything from food allergies and intolerance and why they seem to be on the rise to how digestion changes as we age and what it's really like to live with a chronic GI condition.
19:45 Josh Clark? Through personal stories and expert insight, listen in to unpack what it means when your body doesn't always respond to food the way you expect and what science is now revealing about why. Listen to Eating Interrupted on the iHeart app, Apple Podcasts, or wherever you get your podcasts.
20:19 Josh Clark? All right, Chuck, as I said, I'm very psyched about the mat.
20:24 Speaker 03 Yeah, so this isn't... This is a little confusing, the way it's laid out here.
20:30 Josh Clark? Okay.
20:31 Speaker 03 Because what Ed's talking about here with Norman Dawn is called original negative matte painting.
20:37 Josh Clark? Okay.
20:38 Speaker 03 If you hear of a matte painting... That is a piece of glass where you have, and I'm gonna talk about the most common way you might see it employed, is you take a big piece of glass and you paint like a cityscape on it.
20:52 Josh Clark? Right.
20:52 Speaker 03 Like really realistic.
20:53 Josh Clark? Yeah.
20:54 Speaker 03 And then you put that in a scene and shoot it. So it's, instead of having someone in front of a city, and this was pre-blue screen and green screen technology, you would just put Kurt Russell in Escape from New York in a field, and there's a matte painting of New York City behind him.
21:12 Josh Clark? Right.
21:13 Speaker 03 And it looks great. And James Cameron painted that in Escape from New York. He was a matte painter.
21:17 Josh Clark? Oh, I didn't know that.
21:18 Speaker 03 That was like his first job.
21:19 Josh Clark? It's neat, like if you, if you, even if you do know what Chuck's talking about, go to the internet and just look up like great matte paintings.
21:27 Speaker 03 It's amazing.
21:27 Josh Clark? There's a lot of really wonderful ones, ones you've seen before, ones you haven't. But basically, anytime you've seen a movie pre-1993, maybe 1990, where somebody walks into this enormous place, or this amazingly elaborate future city, or something like that, what you're actually looking at is an expertly painted painting that has been messed with in post-production or using an in-camera technique to make it look like it's alive, or actually, you know, bustling or energetic.
21:58 Speaker 03 Or there.
21:59 Josh Clark? But it's really, it's a painting. It's a painting that some amazing human being painted by hand.
22:05 Speaker 03 Yeah, and we should point out, they still do this today, they just do it digitally. And digital matte painters are super talented as well.
22:13 Josh Clark? Sure.
22:13 Speaker 03 But it's kinda neat to think about that old craft, and James Cameron painting a piece of glass.
22:18 Josh Clark? Yeah.
22:18 Speaker 03 And sticking that behind Kurt Russell.
22:20 Josh Clark? And I mean, it was used in everything. Like, for my money, matte painting is the single most important and widespread special effect ever.
22:33 Speaker 03 May be hard to argue that.
22:34 Josh Clark? Thank you. Like, it was in Mary Poppins, when Mary Poppins is coming into the City of London.
22:39 Speaker 03 Floating down.
22:39 Josh Clark? That's a matte painting. When Superman walks into the, where's the, what's the name of the place where he's from? Like, the crystal cave where?
22:48 Speaker 03 Fortress of Solitude?
22:50 Josh Clark? Yeah, is that where he talks with, with Marlon Brando, his dad?
22:55 Speaker 03 Yeah, I think so.
22:56 Josh Clark? Okay. That's a matte painting.
22:59 Speaker 03 And I think the Fortress of Solitude are the remnants of Krypton.
23:02 Josh Clark? Okay.
23:02 Speaker 03 And, boy, Superman people are so mad at me right now.
23:04 Josh Clark? Are there Superman people still? I thought everybody was on the Marvel train.
23:07 Speaker 03 No, people love Superman.
23:10 Josh Clark? Really?
23:10 Speaker 03 The comics.
23:11 Josh Clark? Oh, okay. Cause I was gonna say, I mean, you've seen what they've done to Superman lately, right? And Batman?
23:17 Speaker 03 Yeah. So, uh, that's the matte painting, and what that is, it's called set extension. So that basically means you're just sort of extending the real-life set to make something bigger and more opulent.
23:30 Josh Clark? Gotcha.
23:31 Speaker 03 Or maybe not more opulent, just bigger and more.
23:33 Josh Clark? Right.
23:34 Speaker 03 But here's the thing, relying on that matte painter and having the glass there, and glass can break, and it can, you know, on set with lighting can be weird. So that's all, can get a little hinky. So that's why this technique called original negative matte painting was developed by Norman Don.
23:52 Josh Clark? Okay.
23:53 Speaker 03 And that is when, nowadays they'll use what's called a matte box, which is literally a, like, black, I don't think it's cardboard these days, but whatever they make it out of. A cardboard thing that you put over the lens to block out whatever you wanna block out. Back in the day, they would paint cardboard and hold it in front of the lens, or they would actually paint the lens. And what you're essentially doing is, um, painting away, it was early green screen. You're painting away what you don't want in the frame, or what you want in the future, and then, uh, adding that later on.
24:27 Josh Clark? Right, and because it's black, or because it's covered, there's, light is not hitting that part of the film. That part of the film, the actual film strip itself, that you're, you're recording onto, or filming onto, that's unexposed. All that gets exposed is the part of the lens or the camera that is not covered. That has, say, your actor, like, doing the herky-jerky dance.
24:50 Speaker 03 Right.
24:51 Josh Clark? Right? And then, so what you do after that, is you take that film that has your actor doing the herky-jerky dance, project it onto a screen, so you see where the actor is.
25:00 Speaker 03 Yes.
25:01 Josh Clark? And on this screen, you literally paint the background that you want. Then you film the whole thing a second time and now you have your actor in the set that you originally wanted.
25:13 Speaker 03 Right, the only difference there, which is something that wasn't quite right here is they don't like project it. They just develop a few frames of it.
25:22 Josh Clark? Okay.
25:22 Speaker 03 And project it like a slide.
25:24 Josh Clark? I got you.
25:24 Speaker 03 So it's not like the camera, the film is moving through on the wall.
25:27 Josh Clark? Right, right.
25:28 Speaker 03 Because in the article here it says, and then you just stop it. And what happens if you do that is the bulb burns the film.
25:35 Josh Clark? Okay.
25:36 Speaker 03 So you can't just stop a movie projector.
25:38 Josh Clark? You produce like a slide of and project that.
25:40 Speaker 03 Yeah, and then you paint in the castle or the mountain or the whatever you want. And then you go back and expose it again.
25:47 Josh Clark? Yep.
25:47 Speaker 03 Pretty neat.
25:48 Josh Clark? You just open your trench coat. There you go.
25:51 Speaker 03 And the big innovator with the original negative matte painting was Norman Dawn. And he really like, really led the way.
26:01 Josh Clark? But, I mean, again, most of the stuff that does this now is done by computers in post. But this is like the links people were going to to make movies at the time. And you watch them today and you're like, God, that looks terrible. But if you stop and think about the effort that they were going to.
26:18 Speaker 03 They were inventing techniques.
26:19 Josh Clark? Yeah, it's just mind boggling that they managed to get it, you know, to this point.
26:25 Speaker 03 Yeah, Norman Dawn tried to patent that technique as well. But they said, no, you did not invent this. You popularized it and you can't patent something that you made super popular.
26:35 Josh Clark? Yep. There's some other stuff too. There's like rear projection and front projection, which is basically like projecting the background, a moving background onto a screen behind the actors.
26:46 Speaker 03 Yeah.
26:46 Josh Clark? Basically, you know, all those hokey driving scenes.
26:49 Speaker 03 Yeah, yeah.
26:49 Josh Clark? The person's like, the car's being rocked or whatever, the road behind them, that's front or rear projection.
26:54 Speaker 03 Yeah, and people still will use that as homage, like in Pulp Fiction, very famously Bruce Willis. Or I guess not, yeah, when Bruce Willis gets in the cab after the fight.
27:05 Josh Clark? Yeah.
27:05 Speaker 03 And if it looks old fashioned, that's because QT used rear screen projection for that.
27:10 Josh Clark? Yeah.
27:10 Speaker 03 And there's also a technique that's not in here that I just remembered. So I'm actually having to look up what it's called. Um, when you're in a car scene.
27:19 Josh Clark? Right.
27:19 Speaker 03 But you're not doing your rear screen projection.
27:23 Josh Clark? Okay.
27:23 Speaker 03 So what happens here is you're, you're sitting in a car, in a still car on the set, but they're not projecting anything behind you.
27:28 Josh Clark? Okay.
27:29 Speaker 03 What you've got is, uh, two people shaking the car out of frame.
27:33 Josh Clark? What are they, grips?
27:35 Speaker 03 Uh, yeah, usually a grip, but I've, I've shaken cars and trains before.
27:38 Josh Clark? Okay.
27:38 Speaker 03 It's like, cause I'm just a body on the set.
27:40 Josh Clark? Oh, I got you.
27:40 Speaker 03 Like, get in there and shake that thing. In fact, one job I was on, there was a fake subway train and the hydraulics broke early on. And they were like, bring out the PAs, you're gonna shake this train for 12 hours.
27:50 Josh Clark? They're like, you got rhythm? Get in there.
27:52 Speaker 03 Yeah. Oh, we couldn't have too much rhythm, cause we got, uh, yelled at for that. Because it looked too rhythmic.
27:58 Josh Clark? Gotcha.
27:59 Speaker 03 So we're like, I don't know what, I don't know how to do this.
28:01 Josh Clark? Who were you working for?
28:03 Speaker 03 Uh, it was just a commercial director.
28:05 Josh Clark? Gotcha.
28:05 Speaker 03 That said that our, our movement of the train looked too rhythmic and not believable.
28:09 Josh Clark? Right.
28:10 Speaker 03 So anyway.
28:10 Josh Clark? This Fruit of the Looms commercial was totally unbelievable.
28:14 Speaker 03 Uh, you sit in the car, you're acting like you're driving, there's someone else shaking the car. There might be someone else off camera, like, flashing a, a light, uh, through the car, like, you're going by a street light.
28:26 Josh Clark? Yeah.
28:27 Speaker 03 Or a headlight goes across their face, and there may be fake rain in the background. And this is sometimes like six, seven, eight people, uh, working in concert to make it look like you're driving at night in the rain or something like that.
28:37 Josh Clark? Right, so there's not like an obvious background, trees or road or whatever, but maybe there's headlights coming up behind you, it's just dark.
28:44 Speaker 03 Yeah, but they're people with a spotlight.
28:46 Josh Clark? Yeah.
28:46 Speaker 03 It's really, really cool.
28:47 Josh Clark? Yeah, it is.
28:48 Speaker 03 Old fashioned, but people still use that stuff.
28:50 Josh Clark? Yeah.
28:51 Speaker 03 And I wish I could remember the full name of that technique.
28:54 Josh Clark? The, uh, the shake and shimmy.
28:58 Speaker 03 It's, I'm gonna be so mad later on.
29:01 Josh Clark? We'll just call it the shake and shimmy, okay?
29:03 Speaker 03 That's right.
29:04 Josh Clark? Um, so you talked about green screen, and that's actually super old too. There's a really convoluted explanation about how originally green screen employed sodium vapor lights.
29:17 Speaker 03 Yeah.
29:18 Josh Clark? Which would actually mess with the yellow exposure on panoramic film.
29:25 Josh Clark? And my brain, I started bleeding out of my ear.
29:28 Speaker 03 Yeah, me too.
29:28 Josh Clark? I cannot tell you how many times I read descriptions about this and I can't quite get it. So suffice to say that that was one technique for green screen. What really kind of changed the industry is when they figured out that, again, if you, if you, if you film in black, the, um, the film is not going to be exposed. So anything you go and re-expose it to, it will cover over that stuff. So like it's transparent. So for example, in The Invisible Man from, I think, 1933?
30:01 Speaker 03 1933, yeah.
30:02 Josh Clark? Claude Rains wore a black bodysuit. And the background was black. It was a black screen, like a black green screen. And, but he wore clothes and everything in bandages and sunglasses. And I think he smoked a cigarette or whatever. But when he took the bandages off, when he took his sunglasses and clothes off, there was nothing there. It was a black bodysuit and a black, um, background. So when they filmed the background later on, all you could see was the background and the clothes and the bandages. It looked like there was nothing there because as far as the film was concerned, when they were filming it, there wasn't anything there. So the film wasn't exposed in those sections on each frame.
30:42 Speaker 03 That's right. And that's called the Williams process. And a key part of the Williams process is the optical printer. And that is a projector that actually prints an image directly onto the film that runs through the camera while that printer and camera are synced up.
30:56 Josh Clark? Yes, so this is, to me, the optical printer is the second most widespread and useful special effect technique in the history of film.
31:06 Speaker 03 You just waved your hand.
31:07 Josh Clark? I did. So I suddenly had an ascot and a beret on.
31:11 Speaker 03 Uh, yeah, hard to argue that too. But, uh, all this stuff was just precursor to what was blue screen early on, uh, chroma key blue, and then later became chroma key green. I'm not sure why they made the switch, actually.
31:22 Josh Clark? I don't either.
31:23 Speaker 03 Other than maybe the green.
31:25 Josh Clark? Less prevalent or less use?
31:26 Speaker 03 I think so, probably. Maybe the blue was, um, because you know what? You don't want anything close to that color.
31:32 Josh Clark? Right.
31:33 Speaker 03 Will disappear against the green screen.
31:35 Josh Clark? Anyone who's ever done the weather on the newscast can tell you that.
31:39 Speaker 03 Yeah, there have been, there are blooper reels of weather people disappearing when they wear like a green jacket or something.
31:44 Josh Clark? Right. It looks like the weather's going on through their body. Same thing. So, so I want to say one more thing about optical printers or another little bit about it.
31:53 Speaker 03 Sure.
31:53 Josh Clark? So what you have is a projector projecting a film on to a screen. And you have a camera recording what's being projected, right?
32:03 Speaker 03 That's right.
32:03 Josh Clark? That's the optical printer. And you could do all sorts of stuff with that. So let's say you have a shot where you have one mat in the foreground and live actor, and then another mat in the background that has a bunch of different people in it or something like that.
32:17 Speaker 03 Or stormtroopers.
32:18 Josh Clark? Three, okay. So you've got three different elements to that shot. What you would do is using the same film, film each thing. So you go film that, like the, uh, the actor, the live action actor. You've got that on the film. And you project that. And you take film where you're filming the mat and you project that and film that. I just totally have screwed this up. Oh my God, this is just like, um.
32:44 Speaker 03 The sun?
32:45 Josh Clark? No, it's worse than that. Was it, um, false, false positives? Do you remember that time where I was like, I took a pretty simple thing and just completely walked the dog with it?
32:58 Speaker 03 Yeah.
32:59 Josh Clark? Okay. Well, I'll just do that again. Everyone, I want you to go look up optical printers, read a little bit about them, and then you'll say, oh, Josh is right.
33:06 Speaker 03 Yeah. This is tough stuff.
33:09 Josh Clark? It is. Essentially, you're filming a projection. And you can do that multiple times with the same film. And it adds up to where you have the shot you wanted, where it makes it look like all these things that you filmed three separate times are all happening together in one space.
33:25 Speaker 03 Yes, you are marrying separate images together onto a single piece of film.
33:28 Josh Clark? Right. You couldn't do that with, before optical printers, which is a projector and a camera working together.
33:35 Speaker 03 That's right.
33:36 Josh Clark? Okay.
33:37 Speaker 03 I think.
33:37 Josh Clark? I needed that.
33:39 Speaker 03 Uh, we should mention briefly, motion controlled cameras. This is a system that allows. It's basically taking the person out of the equation. There is not a person pushing a dolly, there is not a person moving the camera. It is a machine that is programmed to move a camera through space very, very precisely and exactly the same every single time.
34:02 Josh Clark? Yeah, so you can do the exact same motion over and over again.
34:05 Speaker 03 Over and over, and a lot of times you'll, if you're on a TV commercial, as boring as that is, you will see stuff like this for like a food shoot. Because food shoots are notoriously tricky because everything's super close up and has to be perfect. And you can't be off a little bit with the camera because a lot of times you'll sub in stuff later in post. And that's the whole reason for motion control is to replicate moves with exact precision.
34:30 Josh Clark? So I was reading about Industrial Light and Magic using this to really great effect with the first Star Wars, which is episode four, right? The New Hope? That's the first one, right? Right?
34:43 Speaker 03 I'm not confirming or denying anything, I'm just gonna let that stand.
34:46 Josh Clark? Episode four is the first Star Wars movie that ever came out, correct?
34:52 Speaker 03 Star Wars: The New Hope is the first episode.
34:54 Josh Clark? Okay.
34:55 Speaker 03 That I ever saw in a movie theater.
34:57 Josh Clark? Because it's the first one that ever came out. Anyway, when they were making this, you know, is it a Star Destroyer? The big, the big daddy ships?
35:05 Speaker 03 Okay.
35:06 Josh Clark? Oh man, we're gonna get murdered. Everything, all of the ships in Star Wars were models.
35:12 Speaker 03 Yes.
35:13 Josh Clark? Fairly small models, actually.
35:14 Speaker 03 You got that part right.
35:15 Josh Clark? Okay.
35:16 Speaker 03 I think it was episode four.
35:17 Josh Clark? I'm almost positive.
35:18 Speaker 03 Okay.
35:19 Josh Clark? So those models were not moving in these shots, in these enormous, like huge panoramic shots where like there's tie fighters flying around, shooting everything, and X-wing fighters shooting the tie fighters. None of those models were moving. What happened was they figured out how to use motion controlled cameras so that the camera would go through the shot and around the model and make it look like the model was moving. And plus it was moving the shot through space, right?
35:49 Speaker 03 Right.
35:50 Josh Clark? The thing is, is let's say you have five different ships. You film those five ships separately, but those five ships are all going to be in the same shot. So you have to film that same shot the exact same way.
36:04 Speaker 03 Right.
36:04 Josh Clark? Five different times, and then run it through an optical printer so that you can get all of them, all five shots, onto the same strip of film. But that's one of the, one of the ways that motion, um, motion controlled cameras were really put to good use, and it was extremely groundbreaking. Because not one of those ships were moving in reality when they were filming Star Wars.
36:26 Speaker 03 Can you name five Star Wars ships?
36:28 Josh Clark? Tie Fighter?
36:29 Speaker 03 Mm-hmm.
36:29 Josh Clark? X-Wing Fighter.
36:30 Speaker 03 Mm-hmm. You already said one.
36:32 Josh Clark? Uh, the Tie Fighter II. Uh, the Deuce is what the people in the know call it.
36:38 Speaker 03 Sure.
36:39 Josh Clark? Um, the, uh...
36:41 Speaker 03 You already said Star Destroyer. You should use that.
36:43 Josh Clark? So Star Destroyer was right?
36:44 Speaker 03 Yeah, there's a Star Destroyer.
36:45 Josh Clark? Oh, okay, you made a face like I was just totally off. You could make the case that Endor was a ship even though it was a planet.
36:55 Josh Clark? There was the, uh, the, the Forest Speeder. The, um, the, uh, Pod Racer.
37:03 Speaker 03 Uh, yeah?
37:03 Josh Clark? Yeah. And, um, Dr. Zayas.
37:08 Speaker 03 That's right, he's the final ship.
37:10 Josh Clark? Yep.
37:14 Josh Clark? Do you know how many people?
37:15 Speaker 03 Oh, boy.
37:15 Josh Clark? Their calf muscles just popped right out of the back of their legs.
37:19 Speaker 03 Holly Fry is like hyperventilating somewhere in the office and she doesn't know why. So, uh, as I said earlier, it's, it's usually a combination of these different techniques to create one overall special effect using these different crafts. And, uh, a great example is Jurassic Park and the, um, and the scene with the velociraptors in the kitchen.
37:40 Josh Clark? Mm-hmm.
37:41 Speaker 03 That great, great sequence, uh, when it was playing cat and mouse with those children.
37:45 Josh Clark? Yeah.
37:46 Speaker 03 There were, uh, puppets, there were actors in costumes, there were animatronic raptor heads, and there were full CGI raptors, and you throw this all in a hat, mix it all up, and it comes out to be like a really believable looking scene.
38:01 Josh Clark? Yeah, it comes out as an Oscar.
38:05 Speaker 03 Yeah, I'm sure they won Oscars, right?
38:08 Josh Clark? They had to have. I don't know, but there's just no way.
38:12 Speaker 03 It was groundbreaking. I remember being just gobsmacked in the movie theater
38:18 Josh Clark? Yeah.
38:18 Speaker 03 when I first saw those dinosaurs walking across the screen.
38:20 Josh Clark? And that was 1993, I believe, for the first Jurassic Park, right? Jurassic Park: A New Hope, the first one that came out? So, um, but that was five years after the first Oscar had been awarded for special effects, as far as I know.
38:35 Speaker 03 Oh, really?
38:35 Josh Clark? I believe that The Abyss was the first one to win an Oscar for special effects, maybe? Or there-- no, no, I'm sorry. I'm way off, way off. The Abyss was the first movie to win a special effect for a CGI effect.
38:52 Speaker 03 Okay.
38:52 Josh Clark? Remember the water?
38:53 Speaker 03 Sure. Still looks pretty good.
38:55 Josh Clark? It looks amazing. And this is 1987 we're talking about.
38:59 Speaker 03 Wow, was that when that came out?
39:00 Josh Clark? Yeah, I was surprised to see that too, because I thought it was, yeah. It's a good movie.
39:05 Speaker 03 I really like that movie.
39:06 Josh Clark? How do you not like Ed Harris?
39:10 Josh Clark? You don't like Ed Har-- what did you not like Ed Harris?
39:12 Speaker 03 No, I like, I like him as an actor. I think a lot of people might have problems with Ed Harris as a person. He's notoriously cantankerous.
39:18 Josh Clark? I, I've never heard that. I believe it.
39:21 Speaker 03 Sure, he looks like he could yell somebody down, doesn't he?
39:24 Josh Clark? Sure. But he also keeps a cool head when he's an actor, as a 70s or 60s NASA guy.
39:31 Speaker 03 Hey, I love Ed Harris. All right, let's take another break.
39:34 Josh Clark? Okay.
39:34 Speaker 03 And we're gonna come back and talk a little bit about Star Wars episode whatever. Right after this.
39:54 Josh Clark? Buy smart, drive for less, and trade for more. That's Toyota affordability. And it all starts with a great deal on the truck from your local Toyota dealer.
40:04 Speaker 03 That's right. Make a smart buy on the off-road Ready Tacoma or Half-Ton Tundra, two of Toyota's most capable and longest-lasting trucks, built with the strength for the tough jobs. The tech to power your next Big adventure and the rugged style for everything in between.
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40:32 Speaker 03 That's right. And long after you leave the lot, your Toyota keeps delivering with great resale value. So you could trade in for more when you're ready for your next Toyota. From a great deal today to a great value tomorrow, a Toyota is right for you. Shop toyota.com for deals and details, or stop by your local Toyota dealer today. Toyota, let's go places.
40:57 Josh Clark? You know, eating is a huge part of our lives. It fuels us, it brings us together, and it's one of life's great pleasures. But once a meal's over, we don't think much about what happens next, unless something starts to feel off, because what we eat and how our bodies respond to it is complicated.
41:12 Speaker 03 That's right. From the very first bite, food kicks off a chain reaction, signals moving between the gut, the brain, and the immune system, the constant back and forth we can't see and often don't fully understand. So we want to introduce to you Eating Interrupted, a new podcast from iHeart Ruby Studio. It's hosted by longtime journalist and Crohn's patient Cynthia McFadden. Eating Interrupted explores everything from food allergies and intolerance, and why they seem to be on the rise, to how digestion changes as we age, and what it's really like to live with a chronic GI condition.
41:41 Josh Clark? Through personal stories and expert insight, listen in to unpack what it means when your body doesn't always respond to food the way you expect, and what science is now revealing about why. Listen to Eating Interrupted on the iHeart app, Apple Podcasts, or wherever you get your podcasts.
42:00 Speaker 04 First thought is like, wow, how are we going to do all this?
42:03 Josh Clark? Hey, this is Josh and Chuck from Stuff You Should Know.
42:05 Speaker 03 That's Alan Goya, planning engineer at AT&T, and he's talking about Intuit Dome, home of the Los Angeles Clippers, where every seat, screen, phone, and transaction is connected with AT&T fiber and 5G, redefining the fans' experience. And Alan's master plan made it all possible.
42:21 Speaker 04 It was good arrival, anything that was already built. And that takes quite a bit of people and different teams to all be on the same page.
42:29 Josh Clark? That includes field services manager Drexel Jones. His team made sure it all came together and held up on game day.
42:35 Speaker 05 Through what Alan's whole crew designed, we connected the event visitors to the world.
42:41 Speaker 03 And after years of hard work and collaboration, it was opening night.
42:45 Speaker 05 To actually see the whole stadium light up and data's flowing is a beautiful thing.
42:49 Speaker 04 What the fans' experience is incredible. It gave me a lot of pride.
42:52 Josh Clark? AT&T, connecting fans to what they love.
42:56 Speaker 06 Connecting changes everything. AT&T.
43:14 Speaker 03 Okay, we're back and we should talk, we should mention the garbage mat real quick.
43:18 Josh Clark? Okay.
43:19 Speaker 03 Because that is, that is a big deal. A lot of times you have wirework or you have, you have things hanging from wires. It doesn't have to be a person. It can be like a model plane or a TIE fighter or whatever.
43:33 Josh Clark? Sure.
43:34 Speaker 03 You gotta get rid of those wires.
43:36 Josh Clark? Unless you're Ed Wood.
43:37 Speaker 03 You can't have fishing line.
43:38 Josh Clark? No, you're supposed to not, but yes.
43:41 Speaker 03 Or if you're Charlize Theron in Mad Max: Fury Road, you gotta get rid of that arm. Or if you're in Forrest Gump, you gotta get rid of Lieutenant Dan's legs.
43:49 Josh Clark? Man, that was amazing. That was the first time anybody's ever done really something like that throughout.
43:55 Speaker 03 Yeah, I had my problems with that movie, for sure. And one of them is, I think he way over, he was like a kid in a candy store, and way overdid the like, and now Forrest is in the White House, and using archival footage and sticking Forrest in it.
44:09 Josh Clark? Yeah, that whole like, half hour dialogue he has with Peter Cushing's ghost.
44:15 Josh Clark? It was uncanny.
44:19 Speaker 03 But I get it. I get why these filmmakers get excited, these really technical wizards. When they get a new technique and they just hammer it.
44:25 Josh Clark? The guy from Industrial Light and Magic, when they made the first Star Wars, call it what you will. His name was, I think, John Dykstra. And this motion-controlled camera assembly that they created was called Dykstra Flex. It was super groundbreaking and they really did amazing stuff with it. Well, he's like a legend in this industry now. And I saw an interview with him recently and he was like, "I'm so tired of seeing just whole cities leveled and like, just the most amazing stuff you can possibly think of, being done just because we can do it."
45:01 Speaker 03 Right.
45:01 Josh Clark? He put it really, really well, I think. It's an embarrassment of riches.
45:06 Speaker 03 Yeah.
45:06 Josh Clark? You know?
45:07 Speaker 03 Totally.
45:07 Josh Clark? Like, it can be done, so it's being done. Everybody's doing it. It's just, you know, like, and it makes it less amazing. Not necessarily because it looks bad, it just keeps looking better and better every time.
45:19 Speaker 03 Yeah.
45:19 Josh Clark? Like, if you, if you look at Charlize Theron's prosthetic arm, or missing arm,
45:24 Speaker 03 Yeah.
45:25 Josh Clark? Compared with Lieutenant Dan's missing legs.
45:27 Speaker 03 Looks radically different.
45:28 Josh Clark? It does. So it's getting better. There's just too much of it, I think, is the point. Just to be, you know, just to be all Ed Harris-y on this.
45:36 Speaker 03 No, I have long predicted a return to practical effects.
45:39 Josh Clark? Really?
45:40 Speaker 03 And it's starting to happen a little bit more and more.
45:42 Josh Clark? Yeah, I could see it, starting with indie filmmakers.
45:44 Speaker 03 Yeah, for sure.
45:45 Josh Clark? Which is funny, because finally, computer-generated effects have trickled down enough.
45:52 Speaker 03 Yeah.
45:52 Josh Clark? Like, you or I could just walk out of the studio and probably get on any one of those Macs out there and use stuff that 10, 15 years ago would have cost $500,000 to set up a rig like that.
46:04 Speaker 03 Yeah, and that's how some young filmmakers have gotten noticed, is by making these short films with like, zero money on their computer, that get a lot of action on YouTube because it looks so amazing.
46:15 Josh Clark? Right.
46:16 Speaker 03 And the studio will be like, "Sign that person up."
46:18 Josh Clark? Yeah.
46:19 Speaker 03 Like, I can't remember the guy's name, but that's happened a couple of times in recent years.
46:22 Josh Clark? To Ed Harris.
46:25 Speaker 03 We should talk about a few of the groundbreaking people over the years.
46:30 Josh Clark? Oh, yes.
46:32 Speaker 03 We'll go through these a little quicker than what we have in front of us, I think.
46:34 Josh Clark? Oh, no.
46:35 Speaker 03 But we should mention Lon Chaney.
46:37 Josh Clark? Sure.
46:37 Speaker 03 One of the original superstars of film in the silent era, the man of a thousand faces. He was, he was very talented doing his own makeup and changing his face. That's why he's called the man of a thousand faces.
46:52 Josh Clark? Right. He's like, here's 997.
46:56 Speaker 03 What about Willis O'Brien?
46:57 Josh Clark? He was one of the pioneers of stop-motion photography. Again, if you're a California Raisins fan, you have a lot to thank Willis O'Brien for.
47:06 Speaker 03 Yeah.
47:06 Josh Clark? He also, this dude, the stuff he did. I mean, if you look back, he did King Kong, the 1933 King Kong.
47:13 Speaker 03 Yeah.
47:13 Josh Clark? And if you look back at this, you're like, this is, this is cool. But if you research what was done to create this, you're just blown away by it.
47:23 Speaker 03 Yeah, again, many processes coming together to create that 1933 version of King Kong. And that fight looks good still. I mean, it doesn't look realistic, but consider the year, it looks awesome.
47:36 Josh Clark? It does, and it's about three, three and a half minutes long, King Kong fighting the Tyrannosaurus Rex.
47:42 Josh Clark? But it took seven weeks to film.
47:43 Speaker 03 Yeah.
47:44 Josh Clark? Because there's 24 frames shot per second in a film.
47:48 Speaker 03 That's right.
47:49 Josh Clark? And for every frame, they moved the models a little bit here or there.
47:55 Speaker 03 Yeah.
47:56 Josh Clark? So that's why it took seven weeks just for that fight scene. I think it was 55 weeks for all of the stop-motion photography that was done in that movie.
48:05 Speaker 03 Yeah, that's impressive.
48:07 Josh Clark? It really is impressive, especially when you realize the trouble they went to. When you go back and watch it, you're like, this is pretty nuts.
48:12 Speaker 03 Yeah, Ray Harryhausen continued the work of Willis O'Brien. And very famously in like the 50s and 60s with movies like Jason and the Argonauts.
48:20 Josh Clark? And Clash of the Titans.
48:21 Speaker 03 Yeah.
48:22 Josh Clark? Remember Medusa?
48:23 Speaker 03 Sure.
48:23 Josh Clark? Scary lady.
48:24 Speaker 03 Yeah, that had to be toward the end of his career, I guess, because that was in the 80s.
48:27 Josh Clark? Yeah, I think like 81, maybe. Remember the Minotaur 2, man? That was a cool movie.
48:33 Speaker 03 That was a big movie for me as a kid.
48:35 Josh Clark? Yeah, and I was like, when L.A. Law came along, I was like, I know that guy.
48:39 Speaker 03 That's right.
48:40 Josh Clark? There's the Titans guy.
48:43 Speaker 03 We should shout out Millicent Patrick. This is a very interesting story. She was one of the only, well, first and only women working in special effects back in the day.
48:53 Josh Clark? Right.
48:54 Speaker 03 And she created the very famous mask of the Gillman from Creature from the Black Lagoon in the mid 1950s and was unceremoniously fired.
49:05 Josh Clark? Not just fired, stricken from the credits.
49:07 Speaker 03 Yeah, this guy named Bud Westmore, he assisted her and then basically had her fired rather than give her the credit for the mask, which he would take credit for.
49:16 Josh Clark? Cause I think he was the supervisor in charge of effects or costume or something.
49:20 Speaker 03 Oh, I thought, I guess he assisted her, but he was her boss?
49:23 Josh Clark? Yeah.
49:24 Speaker 03 Okay.
49:24 Josh Clark? But like she very clearly, on her own, came up with the Gillman for
49:29 Speaker 03 Yeah.
49:29 Josh Clark? The Creature from the Black Lagoon.
49:30 Speaker 03 And this has only come out in the last like few years. They've kind of dug up the original stuff and yeah, sexism just basically pushed her out of the industry altogether.
49:40 Josh Clark? Yeah.
49:41 Speaker 03 Very sad.
49:41 Josh Clark? She's starting to get her due now, though, which is good.
49:44 Speaker 03 Yeah, that is very good.
49:46 Josh Clark? There's Dick Smith is amazing.
49:48 Speaker 03 He created the Squibb.
49:50 Josh Clark? Oh, really?
49:51 Speaker 03 Yep.
49:51 Josh Clark? He's a, he's a very famous makeup artist. He's really good at making people look aged.
49:56 Speaker 03 Yeah, he made 47-year-old Marlon Brando look much older.
50:00 Josh Clark? Forty-five.
50:01 Speaker 03 Than the Godfather.
50:03 Josh Clark? Oh, yeah?
50:03 Speaker 03 Yeah, he was only, he was a year younger than me.
50:05 Josh Clark? That's crazy. I never thought about that.
50:07 Speaker 03 Isn't that nuts?
50:08 Josh Clark? Wow, he really is good. He also did Death Becomes Her, which is one of the all-time great movies.
50:12 Speaker 03 Oh, yeah, for sure. And The Exorcist.
50:14 Josh Clark? Yep.
50:15 Speaker 03 And Scanners.
50:16 Josh Clark? And have you ever seen Ghost Story from 1981?
50:19 Speaker 03 Oh, yeah, yeah.
50:20 Josh Clark? Very scary movie.
50:21 Speaker 03 The Old Dudes?
50:22 Josh Clark? He did, he did that.
50:24 Speaker 03 What else? Very famously aged Dustin Hoffman in Little Big Man by many, many years.
50:29 Josh Clark? Sure.
50:30 Speaker 03 And then in the last like 25, 30 years, Rick Baker and Stan Winston.
50:39 Josh Clark? Stan Winston's, he's got my vote.
50:41 Speaker 03 Yeah, I mean, these two guys were both just Creative leaders in the industry and trailblazers in the industry. And as Ed says in here, like mentored a generation of special effects employees. Employees, creators, artists.
50:59 Josh Clark? Sure. All three of those work.
51:01 Speaker 03 Lord.
51:02 Josh Clark? Gig workers.
51:03 Speaker 03 Rick Baker, American Werewolf in London in 1981, which still holds up. The Thriller video in 1983, Star Wars, Mos Eisley Cantina, he made all those.
51:14 Josh Clark? Yeah. Did you know that about the Mos Eisley Cantina?
51:16 Speaker 03 Sure.
51:17 Josh Clark? I didn't know that. He was almost single-handedly responsible for all of them.
51:21 Speaker 03 And then Stan Winston, you gotta talk about movies like The Thing and Predator and Terminator. And they both have set up, you know, foundations and schools and things like that.
51:29 Josh Clark? Stan Winston also did the makeup for what I think is maybe the best slasher film of all time, Friday the 13th, Part Two.
51:39 Speaker 03 Yeah, two is when Jason comes along, right?
51:42 Josh Clark? Yes, it's Jason. Before he got his mask, he gets his mask in three. I think the Friday the 13th franchise is as good as it gets for horror movies.
51:49 Speaker 03 I dropped off at a certain point. Did you see all those?
51:52 Josh Clark? No, no, I still haven't seen all of them, but even just putting like the first five or six up.
51:56 Speaker 03 Yeah.
51:58 Josh Clark? I think it's like watching them again as an adult, I'm like, these are really good.
52:03 Speaker 03 Yeah, scary.
52:03 Josh Clark? Slasher films, like even better than I remember from being a kid.
52:06 Speaker 03 Yeah.
52:08 Josh Clark? And the reason Stan Winston filled in for Friday the 13th, Part Two, is because the guy who did Friday the 13th, the first one, Tom Savini, was unavailable. He was off doing Creepshow, I believe. But Tom Savini's another legend.
52:20 Speaker 03 I think they're redoing Creepshow.
52:22 Josh Clark? Are they?
52:22 Speaker 03 Mm-hmm.
52:23 Josh Clark? Oh, okay, I'd watch that.
52:24 Speaker 03 Different stories.
52:25 Josh Clark? Oh, even better.
52:26 Speaker 03 I think, if I'm not mistaken.
52:28 Josh Clark? Nice.
52:28 Speaker 03 But yeah, Savini is well-known for being sort of the godfather of gore.
52:33 Josh Clark? Yeah. He did Maniac. Did you ever see that?
52:35 Speaker 03 Yeah.
52:36 Josh Clark? That was off the rocker. Movie.
52:40 Speaker 03 And then these days, there are companies, ILM and Weta. ILM, Industrial Light and Magic is Lucas's company. And they're cool because they invented this stuff because Lucas needed stuff to be done that couldn't be done.
52:56 Josh Clark? Right.
52:56 Speaker 03 And he was like, go figure out how to do it. And they did.
52:59 Josh Clark? They really did.
53:00 Speaker 03 And then Weta is Peter Jackson's company.
53:03 Josh Clark? Oh, okay.
53:03 Speaker 03 And he's the one that has really pioneered the mocap, the motion capture techniques.
53:08 Josh Clark? Mm-hmm. Where a person's wearing like a suit and the suit has a bunch of different, kind of like almost ping pong balls all over it.
53:15 Speaker 03 Yeah.
53:16 Josh Clark? At like joints and crucial places where the body moves. And the actor, stunt person, or dancer, whoever, wearing the suit, goes through the motions. And then.
53:26 Speaker 03 They're just going through the motions.
53:27 Josh Clark? Sure. And that, those motions, what's captured is fed into a computer and the computer generates a character doing all those same motions. Creating the performance, but it's a computer-generated character.
53:38 Speaker 03 Yeah, I don't think he was the first, but the Gollum character in those Lord of the Rings movies was really one of the first really terrific-looking, fully CGI character.
53:49 Josh Clark? Yeah, I found, from what I could tell, the first full CGI character ever in a movie. You want to guess? You'll never guess.
53:59 Speaker 03 Well, I mean, it's touted as Indiana Jones and the Last Crusade.
54:02 Josh Clark? Wrong.
54:03 Speaker 03 Really?
54:03 Josh Clark? Mm-hmm.
54:04 Speaker 03 What is it gonna be?
54:05 Josh Clark? It's another Spielberg movie.
54:07 Speaker 03 Okay.
54:08 Josh Clark? It's young Sherlock Holmes. Do you remember the stained glass knight that comes to life and tries to slash one of them with his sword?
54:15 Speaker 03 Uh-huh.
54:16 Josh Clark? First full CGI character in a movie.
54:18 Speaker 03 Well, why?
54:20 Josh Clark? I don't know. But that's what I could find, and that one's from 1985.
54:25 Speaker 03 Well, it says, maybe there's, it's in the nitpicky language because in The Last Crusade, when Walter Donovan's face melts and turns to dust when he drinks from the chalice.
54:37 Josh Clark? That's in, that's in Raiders of the Lost Ark, isn't it? Oh, no, you're right, you're right, I'm sorry.
54:42 Speaker 03 Last Crusade.
54:42 Josh Clark? Okay, yeah.
54:43 Speaker 03 It says here, it was the first ever digital composite of a full-screen, live-action image.
54:49 Josh Clark? There's something in the language there.
54:51 Speaker 03 Yeah, like maybe it wasn't full screen or something.
54:53 Josh Clark? This was the.
54:54 Speaker 03 Gotcha.
54:54 Josh Clark? This was the first CGI. But it wasn't the first CGI image. This is the first moving CGI image. The first CGI image was in Looker. Remember that movie?
55:06 Speaker 03 I totally saw Looker.
55:08 Josh Clark? Yeah.
55:08 Speaker 03 That was a big HBO movie for me.
55:10 Josh Clark? For sure, same here. It was Looker, Runaway.
55:13 Speaker 03 Uh huh.
55:14 Josh Clark? Kroll.
55:14 Speaker 03 Runaway is Tom Selleck.
55:16 Josh Clark? Yeah, and Gene Simmons.
55:17 Speaker 03 Yeah.
55:17 Josh Clark? Is the bad guy.
55:18 Speaker 03 That's right. I saw Kroll a lot, too.
55:20 Josh Clark? Yeah, oh yeah.
55:20 Speaker 03 Uh, Looker had Albert Finney, right? If I remember correctly.
55:23 Josh Clark? Albert Finney and Susan Day.
55:25 Speaker 03 Yeah, Susan Day.
55:26 Josh Clark? And it was written by Michael Crichton, I think.
55:28 Speaker 03 That was the first full-body 3D human, but it did not move. It was static.
55:33 Josh Clark? Yeah.
55:34 Speaker 03 And the very first computer-generated effects period, funny enough, were used to replicate computer screens. So whenever you would see a computer screen in like Westworld or Aliens or Star Wars, and they were like, what is the computer gonna look like? You know, not now.
55:51 Josh Clark? Mm-hmm.
55:52 Speaker 03 Uh, that was the first time they used computer-generated imaging, was to.
55:56 Josh Clark? Yeah.
55:56 Speaker 03 Make a fake computer screen.
55:58 Josh Clark? And the first full CGI scene ever done was in Wrath of Khan, which I believe came out in 1982. But there's a genesis, like Earth being, you know, like cooling and turning into the Earth, and there's this amazing shots around it. That's all CGI, and that was the first one. And Tron.
56:18 Speaker 03 Oh, yeah.
56:19 Josh Clark? I thought for sure Tron would have been among the first. Apparently, most of that was animated by humans, not computers.
56:25 Speaker 03 That's right.
56:26 Josh Clark? The, um, like all the glowing lines, all that stuff, animated, which makes it nuts that they were able to create that.
56:33 Speaker 03 Yeah. Uh, now the big thing is this de-aging technique that they're getting better and better.
56:39 Josh Clark? Yeah, they really are.
56:40 Speaker 03 Yeah, so the new, um, Scorsese pick, The Irishman, I think de-ages, and it has taken a long time to get out because the de-aging didn't look good enough for Scorsese.
56:49 Josh Clark? Mm-hmm.
56:49 Speaker 03 So they've de-aged De Niro. And then I saw this new Ang Lee movie, Gemini Man, where Will Smith of now, he plays an assassin, and he has to go kill his younger self.
57:03 Josh Clark? Looper.
57:04 Speaker 03 Yeah, sort of like Looper, I guess. But this Gemini Man script has been in development for like 25 years with various people attached, but they could never do it.
57:12 Josh Clark? Because the technology was not.
57:13 Speaker 03 Yeah, it's finally here, but here's the thing I didn't know. Like, I've seen this trailer, and I'm like, man, that de-aging looks great. They didn't de-age him. It is a fully CGI Will Smith.
57:24 Josh Clark? Oh, and it looks that realistic?
57:25 Speaker 03 The younger version is, yeah.
57:26 Josh Clark? Wow.
57:27 Speaker 03 So I was like, man, they're getting so good at the de-aging.
57:29 Josh Clark? Wow, that's amazing.
57:30 Speaker 03 So he mocapped his whole performance, motion captured, and they just used fresh prints, uh, photos.
57:36 Josh Clark? Man, they just basically deep-faked him.
57:39 Speaker 03 Sort of.
57:40 Josh Clark? Fresh prints.
57:41 Speaker 03 Have you seen the Bill Hader deepfake that's going around now? It's pretty cool.
57:44 Josh Clark? Yeah.
57:46 Speaker 03 Because he goes from Hader to Tom Cruise to Seth Rogen, back to Tom Cruise, it's like kind of all over the place. It's really creepy.
57:53 Josh Clark? It's really well done.
57:55 Speaker 03 Uh, and then, you know, like we said, they use CGI for so many movies. Little mistakes that can be corrected, little things that it's just much cheaper to add digitally later on.
58:04 Josh Clark? Right.
58:05 Speaker 03 It could be a movie that, like I said, looks like it has no CGI whatsoever, and it's cheaper to put a plate of food in the background digitally than cook the food.
58:15 Josh Clark? Right.
58:15 Speaker 03 And put it on set.
58:16 Josh Clark? Right.
58:16 Speaker 03 Which is, that's a bad example. Uh, or you can color grade a movie. You completely change, like the movie Oh Brother, Where Art Thou? Has that yellow hue for everything.
58:26 Josh Clark? Yeah.
58:26 Speaker 03 All that stuff is green, you know? They're in the deep south in the summertime.
58:29 Josh Clark? Right, and they used to have to like film it at some weird exposure and then project it at another exposure with some filter and then record the whole thing on an optical.
58:39 Speaker 03 The negative.
58:40 Josh Clark? Yeah. Now, they can just do it all with the computer, easy peasy.
58:44 Speaker 03 It's great. You got anything else? I'm kind of looking around, but this is like one eighth of this topic.
58:52 Josh Clark? Yeah. Hopefully it made you appreciate movies more.
58:55 Speaker 03 Yeah.
58:55 Josh Clark? You, specifically.
58:57 Speaker 03 Me?
58:59 Josh Clark? I know you love the movies.
59:00 Speaker 03 Sure.
59:01 Josh Clark? Uh, if you want to know more about movies, go listen to Chuck's podcast, Movie Crush, you'll love it.
59:05 Speaker 03 Hey, thanks.
59:06 Josh Clark? Uh, and since I said movie crush, it's time for listener mail.
59:12 Speaker 03 And actually, since you said movie crush, we're about to release an episode on The Matrix.
59:16 Josh Clark? Oh, yeah.
59:16 Speaker 03 Hadn't seen that movie. It's been 20 years since it came out.
59:19 Josh Clark? You've never seen The Matrix?
59:20 Speaker 03 No, I hadn't seen it in a long time.
59:22 Josh Clark? Oh, gotcha.
59:22 Speaker 03 But I didn't realize this is the 20-year anniversary. Watched it last night. Still totally holds up.
59:27 Josh Clark? Really?
59:28 Speaker 03 Looks great, fun.
59:30 Josh Clark? Yeah.
59:31 Speaker 03 Well-acted by most of the cast members.
59:34 Josh Clark? Who didn't act well?
59:36 Speaker 03 Oh, you know, Keanu always gets picked on.
59:38 Josh Clark? I love that guy.
59:39 Speaker 03 I know Kung-Fu.
59:43 Speaker 03 He's perfect in that role, though.
59:44 Josh Clark? Yeah, he's great. I can't imagine anybody else in it. It'd be too... Just too serious, I think. Like, imagine Tom Cruise in that, in The Matrix.
59:51 Speaker 03 Yeah, you're right. He adds a little, like, something light, doesn't he?
59:55 Josh Clark? Yeah, it makes it a little more everyman, almost a little more believable in a weird way.
59:59 Speaker 03 I think so. Do you seen those John Wick movies?
1:00:02 Josh Clark? I've seen some of it. It's just like a little too video gamey for me.
1:00:06 Speaker 03 Yeah.
1:00:07 Josh Clark? But I mean, it's fine. I respect that people like it.
1:00:10 Speaker 03 Sure.
1:00:12 Speaker 03 Here we go.
1:00:13 Josh Clark? Okay.
1:00:13 Speaker 03 This is about 3D, uh...3D? It's about solar panels. I got movies on the...
1:00:18 Josh Clark? Why'd you get 3D?
1:00:19 Speaker 03 Well, they are in 3D, I guess.
1:00:20 Josh Clark? Okay.
1:00:21 Speaker 03 I got movies on the brain. "Hey, guys. Being a roofer my entire life, I never thought I'd have much input, until now. It's my time to shine." "One thing that wasn't mentioned in the solar panel episode is that people really need to consider the age of their existing roof before installing solar panels."
1:00:35 Josh Clark? Oh, that's a good point.
1:00:36 Speaker 03 "A new residential shingle roof should last about 30 years, but if the roof isn't nearly new, I would not suggest installing solar panels."
1:00:43 Josh Clark? "And definitely don't install it if the roof, the roof, the roof is on fire."
1:00:48 Speaker 03 "Once the panels are installed, roof repairs or replacement is very difficult and much more expensive." "If the life of the roof ends before the solar panels die, you can easily add 50 to 75% or more to the cost of the re-roofing due to the added labor cost to remove and reinstall the panels."
1:01:06 Josh Clark? What a nightmare.
1:01:07 Speaker 03 Yeah, I didn't think about that. So you should align it ideally with your new roof.
1:01:12 Josh Clark? Sure.
1:01:13 Speaker 03 I do mostly commercial roofing. Can't tell you the number of customers who I talked to had solar panels on an old roof and are now paying through the nose for repairs or replacement. Reputable solar panel specialists should have this roof conversation with a potential customer before installing the panels. I'm afraid it doesn't always happen, or customers underestimate the added re-roofing costs once they're installed.
1:01:36 Josh Clark? Man, this is a great PSA.
1:01:39 Speaker 03 It is. Thanks again for what you guys do. I'm in my truck a lot, driving to different job sites, and it's always easier on Tuesday through Thursday when I have a new Stuff You Should Know. And that is from Owen Cincinig.
1:01:51 Josh Clark? Great name. First and last.
1:01:54 Speaker 03 Yep.
1:01:55 Josh Clark? Love the name Owen. Stephen King's kid's name.
1:01:58 Speaker 03 Really?
1:01:59 Josh Clark? Yeah.
1:02:00 Speaker 03 Owen King.
1:02:01 Josh Clark? Thanks a lot, Owen. We appreciate that big time. That was a great email. I would have never thought about that.
1:02:07 Speaker 03 And he didn't even send his business in to be plugged, so just Google his name and roofing, and if he happens to live near you, use him.
1:02:14 Josh Clark? That's how dedicated this guy is.
1:02:16 Speaker 03 He sounds honest.
1:02:17 Josh Clark? Well, if you want to be a cool person like Owen, you can get in touch with us. You can go onto stuffyoushouldknow.com and check out our social links. You can also send us an email to [email protected] .
1:02:31 Speaker 02 Stuff You Should Know is a production of iHeartRadio. For more podcasts, iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever you listen to your favorite shows.
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Previous SYSK’s Summer Movie Playlist: Some Movies That Changed Filmmaking Next SYSK’s Summer Movie Playlist: Josh and Chuck's List of Horror Movies that Changed the Genre Page updated November 3, 2026 · transcript and summary are machine-generated