0:05

Well, here we go. Deck 78.

0:51

Hey, welcome back to Deck 78. This is Mark A.

0:53

Altman. I'm here with Derek Dockman, Stephen Melching, and

0:55

Ashley Miller here as we

0:58

grab a seat on Deck

1:00

78 for another podcast mission.

1:03

And this week, we're joined by

1:05

director and makeup effects genius

1:07

from the famous K &B effects,

1:09

Robert Kurtzman, along with the star

1:11

of his Wishmaster movie, Andrew

1:13

Divoff. And this is

1:15

really interesting because, you

1:19

know, We didn't know

1:21

Andrew was joining the

1:23

panel till about 90 seconds

1:25

before we went on stage. And

1:29

it was funny because as you'll

1:31

see when you listen, Ashley and

1:33

I had the most wonderful conversation

1:35

with both of them. Really fascinating conversation

1:37

about Wishmaster, about the nature of

1:39

working in prosthetics. how

1:41

playing a character like

1:43

Andrew does in the Wishmaster

1:46

films, it's a really

1:48

interesting, free -willing conversation. And I

1:50

think both Ashley and I were

1:52

surprised at how well it went given

1:54

how we weren't

1:56

exactly expecting

1:58

what transpired. And

2:01

Kurtzman was really interesting,

2:03

in turn, talking about, of course, conceiving

2:06

of the originally optioning from

2:08

Dustal Dawn, from Quentin Tarantino,

2:11

and his directorial sophomore effort,

2:13

Wishmaster. So it's a really

2:15

interesting coverage. Even if you're not familiar with

2:17

film or not a big horror fan, I

2:19

think you'll find an interesting dissection of horror. And

2:22

I have to say, Ashley, you'll

2:24

probably appreciate this. Andrew Devoff, I went up to

2:26

him and I said to him, This is

2:29

true. I said, look, I've been the business for

2:31

a long time. So I know not to

2:33

confuse the art with the artist. But for some

2:35

reason, I had it in my head because

2:37

you placed these loathsome characters, like in Lost and

2:39

in Wishmaster, that you were just a dick,

2:41

that you were a jerk. I was like, I

2:43

had in my head, you must be an

2:45

awful human being. And I said,

2:47

you turned out you're like the

2:49

nicest guy. And I wasn't kidding.

2:52

You're like the nicest guy in the

2:54

world. And Ashley, that was the

2:56

case, wasn't it? Oh, yeah. No,

2:58

he was just the sweetest guy. And

3:00

first of all, A, he was

3:02

just damn happy to be there and

3:04

be on stage. You

3:06

could tell that he really loved being

3:09

with the fans. And let me tell

3:11

you something, there was a pretty serious

3:13

turnout for that panel. They were all

3:15

very excited to see him. And

3:17

he knew how to deliver what they were

3:20

after. But I also appreciated

3:22

that, look, when we talked to Actors

3:24

directors to really creatives of any kind.

3:26

We like to get into their process

3:28

a little bit, you know, it's it's

3:31

one thing anybody can ask a question

3:33

like what was it like to work

3:35

on blah blah blah and and get

3:37

anecdotes. It's another thing entirely to talk

3:39

to people about what it is like

3:41

to work inside of a process. and

3:44

to have a couple of people who

3:46

work inside of the process in the

3:48

way that Kurtzman and Divoth did. And

3:51

to really get them into a

3:53

conversation about what it's like to

3:55

be creative in this business. And

3:57

it requires a degree of openness.

4:01

And I think that

4:03

Divoth's like just

4:05

his basic, he's

4:07

almost huggable. for a guy that you look

4:09

at and you think, oh, he's just

4:11

got to be one of the worst people

4:13

on earth, given his filmography. Well, do

4:15

you remember? It was so funny. So then

4:17

he had his his booth. He had

4:19

all these posters from West Bank. I want

4:21

to sign posters for you guys. And

4:23

we're like, all due respect. Thank you. That's

4:25

very kind of you. But, you know,

4:27

we're not autograph guys. Like, you don't need

4:29

to do that. He said, no, but

4:31

you asked me such smart questions. I really

4:33

enjoyed that. And it was really special.

4:35

Let me do this. And we're both like,

4:37

it's really not necessary we really don't

4:39

need you guys to sign posters for us

4:41

it's okay and um and let me

4:43

sign for your listeners then you can give

4:45

away posters for your listeners. I

4:47

would like at that point it looks like

4:50

okay you know we didn't want to be

4:52

rude and i'm sure some of you out

4:54

there would love it right so he gave

4:56

us he signed a couple posters so if

4:58

you want a andrew divos signed wishmaster poster.

5:01

Please go and email us at trexpressplus at gmail

5:03

.com. We'll be happy to send that out to

5:05

you. Free of charge if

5:07

you're one of the first people

5:09

to request it from us. And

5:11

it was very generous. We appreciate Andrew

5:13

sharing that with you. And

5:15

we're glad to be able to do

5:17

it. So anyway, it was lovely,

5:19

just indicative of what a lovely, lovely guy

5:21

he is. And then, of course, we had

5:23

to, because really the thing was we didn't

5:25

want to have to take them back home

5:27

because you know how hard it is to

5:29

get a without crumpling it. It's like it's

5:31

a pain in the ass to bring posters

5:33

back, you know, because if you don't have

5:35

a tube, then like, how are you going

5:38

to avoid them getting crumpled in transit? And

5:40

so it's like, we didn't want that

5:42

aggravation. So enjoying the transit is like

5:44

a show. No, they're not crumpled. We

5:46

we've we've reasoned it out. It's fine.

5:49

It's OK. It's OK.

5:51

We made a wish and it

5:53

came true. So there you go.

5:55

Anyway, big thanks to Robert Kurtzman

5:57

and Andrew Devoff for joining us

5:59

for a fabulous conversation their respective

6:01

careers and the Wishmaster And

6:04

they'll join us in just a

6:06

minute as soon as we pause for

6:08

these brief commercial messages. Stay tuned. I

6:22

think you're on mute. Workdays

6:24

starting to sound the same. I

6:26

think you're on mute. Find

6:28

something that sounds better for your

6:30

career on LinkedIn. With

6:34

LinkedIn job collections, you can browse

6:36

curated collections by relevant industries and

6:38

benefits, like FlexPTO

6:40

or Hybrid Workplaces. So

6:42

you can find the right job for you. Get

6:45

started at linkedin .com slash

6:47

jobs. Finding where you fit. LinkedIn

6:50

knows how. 24

6:57

Chefs, 24

6:59

showdowns for 24

7:01

hours straight. Which

7:04

chef will out cook, out

7:07

pace, out last,

7:09

the competition? No

7:12

chef. Escapes the clock. All

7:15

new, 24 24, Last Chef Standing,

7:17

Sunday night at 8. see it

7:19

first on Food Network, stream next

7:21

day on Max. Out here, there's

7:23

no one way of doing things.

7:25

No one rules and no shortage

7:27

of adventure. Because out here,

7:29

the only requirement is having fun.

7:32

Bank of America invites kids 6 to 18

7:34

to golf with us. For a limited

7:36

time, sign them up for a free one

7:38

-year membership, giving them access to discounted tea

7:40

times at thousands of courses. Learn more

7:42

at bankofamerica .com slash golf with us. What

7:44

would you like the power to do, Bank

7:46

of America? Restrictions apply, cba .com slash golf

7:49

with us for complete details. Copyright 2025,

7:51

Bank of America Corporation. So any

7:53

further ado, I want to

7:55

welcome the effects, makeup

7:58

effects legend, and of course, a

8:00

great writer and director in his

8:02

own right, Robert Kurtzman. And

8:09

a surprise

8:11

guest, star

8:14

of Wishmaster, among

8:16

a very illustrious career that ranges

8:18

from everything, including Lost,

8:20

and just a diverse array of

8:22

amazing titles. But we're

8:24

reuniting Robert and Andrews. Devalve

8:26

on stage. Welcome, Andrew.

8:30

And welcome to you who are

8:32

in for a treat, because

8:34

you get to ask any questions

8:37

you want at the end

8:39

of the panel. Within reason. Nothing

8:41

personal. Well, too personal. I

8:44

want to go back to the very beginning,

8:46

Robert. The reason, by the way, is a broad

8:48

spectrum, so. That's very good. Go for it. You

8:51

know, obviously you've had

8:54

such a successful career, which

8:56

started with this amazing

8:58

career in effects makeup. But

9:00

who are your inspirations, in turn,

9:02

everybody, from Jack Pierce to Dick Smith

9:04

to Rick Baker? Like, what were

9:07

the people that inspired you to pursue

9:09

this? And what was it that

9:11

sort of turn the key in your

9:13

brain that sent you in this

9:15

direction? All of them. Jack

9:18

Pierce, of course. There's a

9:20

British makeup effects artist, did all the

9:22

hammer movies, Roy Ashton. Because

9:25

those are very influential movies

9:27

for me growing up. They were

9:29

my favorites over the Universal

9:31

movies. And

9:34

then, of course, Dick Smith, Rick

9:36

Baker, John

9:38

Chambers, did Planet of the

9:40

Apes. and an island

9:42

of Dr. Moreau and all

9:44

the films, you know, in

9:46

the 70s, late 60s and

9:48

70s. So all

9:50

of those. And of course then, when

9:53

I got into the business,

9:55

we were kind of the

9:57

next generation under, you know,

9:59

Sam Winston and Rick Baker,

10:01

those guys. So. It

10:04

got in in the early

10:06

80s, which was kind of just

10:08

as the boom was happening, the

10:11

effects boom, where everybody wanted

10:13

rubber creatures and special effects in

10:16

their movies. I

10:18

grew up watching all those

10:20

films with late night horror

10:23

host shows and Saturday afternoon

10:25

movies. That was the only time

10:27

we could see those films. because

10:30

there was no streaming or anything at the

10:32

time. And you'd have to wait one year

10:34

to see each of those films again. So

10:37

you'd circle the TV guide

10:39

and try to make a schedule.

10:43

How do you go about sort of learning your

10:45

craft? Because you just mentioned, it's like, it's the

10:47

infancy of home video. So it's not like you

10:49

could rent a movie and sort of go frame

10:51

by frame. And so it's like, how did they

10:53

do that? And maybe if it was something that

10:55

really blew you away, you had to wait till

10:57

it came on TV a year later. How

11:00

did you go about sort of

11:02

becoming a master of the craft?

11:05

Well, initially, like when I was

11:07

in high school, I was just

11:09

doing art and drawing monsters and

11:11

things and sculpting. Once

11:14

I graduated, I went to art

11:16

school for a year, and

11:18

realized that wasn't what I wanted to do

11:20

either. I didn't want to go through four

11:22

years of art school and not learn what

11:24

I wanted to learn, which was mainly creature

11:26

effects and things. So I

11:28

picked up, and I moved to

11:30

LA when I was 19,

11:33

and I took a 12 -week

11:35

makeup course with a place called

11:37

Joe Blascoe's Makeup School, and

11:39

it had a very, very lean,

11:43

small effects portion of that. Most

11:45

of it was corrective and

11:47

beauty makeup. But it

11:49

got me, you know, it

11:52

got me enough to realize,

11:54

you know, I

11:56

had a really bad portfolio like coming out

11:58

of school. It was embarrassing. But

12:00

it got me in the door at John

12:02

Beeklers who was doing all these movies for

12:05

Charlie Bann. So I kind of started out

12:07

similar to people who started out

12:10

in the Roger Corman School of

12:12

filmmaking, because they didn't pay well. If

12:14

you had some artistic skill and you were

12:17

a hard worker, then you

12:19

could get in and work on these

12:21

films. And so I

12:23

kind of learned those first five

12:25

years or so in the business working

12:27

on so many movies with Charlie

12:29

and the other artists that were coming

12:31

up in the business at the

12:33

same time. We kind of fed off

12:36

each other and we worked with

12:38

each other. And then every night we'd

12:40

get off work, we'd go, we'd

12:42

have a garage. Most of us lived

12:44

together, FX guys. And we'd

12:46

have a garage where we'd set up

12:48

work benches and we'd go out there

12:50

and sculpt and create make -ups and

12:52

try to build our portfolios. Charlie

12:55

made Roger Corman look

12:57

like Warner Brothers. So

13:00

what an amazing, you know,

13:02

to start on the trial. But people

13:04

forget how many people you know,

13:06

started under Charlie Band and he had

13:08

their first experience working for Charlie.

13:10

And I just wonder, sort

13:12

of, you know, your first big credit was Night

13:15

the Creeps for Fred. What

13:18

would you tell yourself now?

13:20

Like, what would having all these

13:22

years on all the success, if

13:24

you could look back at it as a

13:26

young special effects artist at the time, what would

13:29

you tell yourself that you know now that

13:31

at the time you were very naive about this

13:33

business? Well, I

13:35

kind of learned the ins and

13:37

outs of the business coming up in

13:39

the 80s. So, I mean, I

13:41

still say the same thing. If you

13:43

want to do it, you

13:45

have to be a hard worker and you

13:48

have to be ready for rejection, especially

13:50

as a filmmaker. And

13:52

you have to have a

13:54

thick skin. And

13:56

if you work hard and you

13:58

prove to who you're working

14:01

for, which is why I worked

14:03

around town at all the

14:05

shops, like Stan Winston's, Mark Shostrom's,

14:07

Kevin Yeager's. This

14:10

was all before I started

14:12

the company with Howard and Greg,

14:14

KMB, effects.

14:17

So Garner

14:20

reputation, first off,

14:22

being able to do lab work. make

14:25

molds, because even if you're not

14:27

going to set or sculpting, because a

14:29

lot of shops have their key

14:31

guys sometimes, but if you

14:33

could always make molds, then you could

14:35

always work at different studios. So

14:37

kind of being a jack of all

14:39

trades, being able to

14:41

do makeup on set and sculpt

14:43

and paint and make molds, then

14:45

you're kind of covered. Andrew,

14:47

I want to ask you, what was

14:50

your gateway drug to the business? What was

14:52

your inspiration in terms of in discovering

14:54

that you had this passion for acting? You

14:57

know, it came about, so

14:59

I came to the States when

15:01

I was 10 years old,

15:04

and when I arrived, apparently my

15:06

English wasn't at all proficient,

15:08

so I had a couple of

15:10

really very ugly kind of

15:12

nicknames, and so it turned me

15:15

into a very introverted kid. And

15:17

although I knew that all

15:20

of these fantastical stories, you

15:22

know, all

15:24

of these just

15:27

sort of personalities,

15:29

characters lived in

15:31

my head. And

15:33

I thought I, you

15:35

know, I would literally have

15:37

plays go on in

15:39

my head. And so I

15:41

decided that I wanted

15:43

to get over this, this

15:45

introvertedness. And I started

15:47

several years later about seven,

15:50

eight years later, I started

15:52

getting into cold reading classes and

15:54

getting into acting classes. And

15:56

it was a safe zone for

15:58

me because everybody in there

16:00

sort of had this sort of

16:02

earnest wanting to express themselves,

16:04

wanting to get outside of their

16:06

shell. And little by

16:09

little, I noticed and realized that,

16:11

wow, it was kind of sticking

16:13

and I was learning and I

16:15

would, you know, I grew

16:17

up watching all American shows. A

16:19

lot of times, for instance, I'll

16:21

just go into an accent and

16:23

people will wonder, where does that, you

16:25

know, it might be kind of

16:27

a Humphrey Bogartish thing. Well, growing up

16:29

in Venezuela, we would watch a

16:31

lot of American TV in English. And

16:34

that was a big help in

16:36

me learning English there. My mom

16:38

was American, did, but we spoke

16:40

Spanish at home. And so

16:42

a lot of times I realized now that

16:44

all these accents, all these things were kind

16:46

of embedded in me when I was a,

16:48

a young kid. And so I

16:50

wanted to be a cowboy. I wanted to

16:52

be a sort of a play the war

16:54

hero, you know, combat was

16:56

a show that was their big moral, of

16:59

course, was one of

17:01

my favorite actors, Gary Cooper, grew

17:03

up with all those

17:05

guys. And so when I

17:08

came to California, having

17:10

sort of escaped

17:12

from school out east,

17:16

Russian, Russian area studies, linguistics was, I

17:18

was studying at Georgetown and I

17:21

had no business being there. Anyway, so

17:23

I came out, I came out

17:25

west when my father retired. He

17:27

headed up Goodyear in Venezuela. He

17:29

retired, came to California. I went

17:31

out there and was driving a

17:33

limo to support myself, pay my

17:35

bills. And again, I got into

17:37

classes where I had kind of

17:39

gotten the bug and just, was

17:42

able to play all these

17:44

characters, get outside of myself. And

17:47

low and behold, little by little, I'd

17:49

go out to auditions and I was starting

17:51

to land them. And

17:53

one of the things that of course helped a

17:55

lot was accents, being able to

17:57

do the various accents. And so

17:59

it opened up a whole new

18:01

world, a whole new world of

18:03

characters. And I was beyond amazed

18:05

at, wow. Wow, this is really

18:07

cool, and it feels cool, and

18:09

it's great to get that, especially

18:11

in the acting class. You know,

18:14

it eventually ended up with Milton

18:16

Cutsellus, and that was a wonderful, wonderful

18:18

learning sort of mission. It

18:20

was just kind of three

18:22

years of just intense... intensive

18:24

learning. And so, again, being

18:27

able to go out and

18:29

do auditions and land some

18:31

roles and play these different

18:33

characters and get into them

18:35

totally was just... I couldn't

18:37

believe my luck. I was

18:39

charmed. I was beyond amazed.

18:42

Can we talk about the makeup a little

18:44

bit for you? So, when you get onto

18:46

Wishmaster... Is it showing? Yeah, it is, absolutely.

18:48

You could use a little foundation, but we

18:50

can talk about that afterwards. No,

18:53

when you get onto Wishmaster, you

18:55

are not just acting. you are

18:57

acting through a prosthetic. And it's

18:59

not funny ears like Freakin' Star

19:01

Trek. It is a full prosthetic.

19:04

And there are actors who can

19:06

do that. And there are

19:08

actors who cannot do that for

19:10

various reasons. So when you

19:12

started on that show, when you

19:14

started preparing to play that

19:16

character, what did you have to

19:18

do? And what do you have to do generally? to

19:21

prepare yourself for the chair, for

19:23

doing the performance. Does it change, you

19:25

know, how you approach the script

19:27

and how you deal with the director?

19:29

That's a great question, especially the

19:31

chair question. That became a sort of

19:34

a thing of its own, but

19:36

I was lucky enough to have Robert

19:38

on my side here. He

19:40

told me, he said, when the

19:42

makeup goes on, you're literally restricted by

19:45

the weight of it, by the

19:47

fact that you just think of rubber

19:49

bands that are so damn strong.

19:51

And Robert said to me, you're gonna

19:53

feel as if you're overacting, but

19:55

you have to do this. You have

19:57

to really force the makeup in

19:59

order to get really even the most

20:01

minimal gesture across to the audience. And

20:05

wow, that tripped me out, but first

20:07

time in makeup, I started

20:09

to articulate it, and it was

20:11

weird. It was just a weird

20:13

feeling, but the beauty of it

20:15

was the art of it. And

20:17

the first day of filming, Robert

20:20

told me to go into my

20:22

trailer, turn the lights, dim them

20:24

down, and look in the mirror

20:26

and just articulate, work it, see

20:28

how it works, see what was

20:30

actually going to, and see how

20:32

hard I had to sort of

20:35

force the gesture in order to

20:37

get that minimal smile or or

20:39

just be able to open the

20:41

mouth wider than normal. And

20:43

you're right, it is hard. One

20:45

of the luxuries of it, I suppose, is

20:47

being able to hide behind that artwork. And

20:50

so knowing, in a sense, because

20:52

I was thinking to myself, I'm never

20:54

gonna pull this off. This is

20:56

never gonna work, man. But

20:58

the beauty of it was, and

21:01

with Robert's instruction of sitting down

21:03

and watching yourself and articulating it,

21:05

working the mask, I

21:07

started to get, not comfortable, but I

21:09

started to say, oh, okay, I see,

21:11

I see how this works. Sitting

21:15

in the chair, that was a trip

21:17

of its own. I mean, the excitement of

21:19

having the makeup on, I think after

21:21

about the third time, it

21:23

was gone. The thrill

21:25

was gone. But coming in early,

21:27

early in the morning and seeing that

21:29

brush is kind of like that, kind

21:31

of like that Star Wars shot of

21:34

the spaceship flying over you. going

21:36

forever. But here comes the

21:38

brush with that white glue.

21:41

It looked like Homer's glue, but it would

21:43

go on. It'd be cold, first thing.

21:45

And the artist's Garrett Imel would say, well,

21:47

this is going to be cold. And

21:49

are you ready to start? Because they knew

21:51

because that first... It wasn't a shock,

21:53

but it was like, okay, we're here, we're

21:55

doing it. And then after about half

21:57

an hour, they would kind of tilt the

21:59

chair back and say, hey, if you

22:01

want to crash out, we've finished the part

22:03

where you had to stay awake so

22:05

you can crash out now and we can

22:08

do our work. And it was kind

22:10

of nice, you know, being dreamy land and

22:12

then wake up in the doctor's chair, but

22:15

nothing but the fondest memories of

22:17

it, really. Well, now that Ashley's let

22:19

the genie out of the bottle

22:21

with Wishmaster, I guess we're going to

22:23

jump to Wishmaster. I

22:26

want to talk about, obviously, had

22:28

such success in makeup effects. You

22:30

created the ILM of makeup effects

22:32

companies. You worked on some of

22:34

the biggest films of all time.

22:36

You started developing properties for yourself

22:38

to direct, obviously, notably from Destill

22:41

Dawn. But then

22:43

you had, you know, great

22:46

with Wishmaster, obviously

22:48

demolitionist. Can you talk about

22:50

sort of the road to directing

22:52

when it's sort of the spark ignited

22:54

and sort of maybe some of

22:56

the lessons you learned from other authors

22:58

that you worked with over the,

23:00

you know, leading to your directing career?

23:03

Well, I always wanted to be a

23:05

director as well. But my pathway

23:07

into that was the art side of

23:09

things and getting in through special

23:11

effects. But in doing that,

23:14

I learned You know, I

23:16

was storyboarding sequences for movies, for

23:18

other people, just specific

23:21

effects things, coming up

23:23

with how we were going to shoot them

23:25

and things like that. So initially, that's the bug.

23:27

You know, once you start doing that, you

23:29

realize, oh, I can do this on my own

23:31

for my own projects. So,

23:34

you know, and as far as being on set, I've been

23:36

on set with all the grades. And

23:39

I really love to kind of stand

23:41

behind the camera and watch how they

23:43

work. Like when I'm on set with

23:45

Sam Raimi, I love watching how Sam

23:47

works. Same with John Carpenter, any

23:49

of the guys, Wes Craven. So,

23:51

and you realize how they deal with

23:53

actors and some are different. Some

23:56

are more technical. They're

23:58

not like actors who've turned

24:00

it to directing. So

24:02

they approach it from a

24:04

different place. But

24:06

the main thing is that you

24:08

hire people to come and... their

24:10

thing so you have to give

24:13

them the freedom. One

24:15

thing I learned was never go, and

24:17

I probably did it a few times, but

24:19

never go out and then perform the

24:21

scene for the actor as a director. Here's

24:23

what you're going to do when you

24:25

walk through it. You learn

24:28

that what you do is you bring the

24:30

actors in and then you see what's

24:32

going to happen. Because a lot of it

24:34

can be organic and that's the best

24:36

way to watch how a scene unfolds. If

24:38

you get too focused on your

24:40

specific shots or how you were going to cover

24:42

it. Basically, you do that. There's

24:45

this thing you do called overheads. And I learned

24:47

this on my first film, where you

24:49

lay out all your camera angles

24:51

and overheads and you mark them by

24:53

numbers and it breaks down to

24:55

your shot list as well. And

24:58

once you do all that

25:00

homework, then you never really look

25:02

at it again when you get to set.

25:04

You may look at effect sequence. look

25:07

and see what's going to be the visual, this

25:09

is the visual effect shot, you know, or whatever.

25:11

But you kind of, you know

25:13

that what your coverage is,

25:15

and then you can just let

25:18

it happen, you know, and

25:20

sometimes there's happy accidents or happy

25:22

things that actors bring to

25:24

the performance or to the blocking

25:26

that just makes it even

25:28

better, you know. So I try

25:30

not to get too stuck

25:32

on what I put on paper and say, this

25:34

is how it's got to be. But

25:36

anyway, I learned all that from watching

25:39

all those directors over the years. When

25:41

I first got in the business, I

25:43

thought, I want to be a

25:45

director and then I got on my first

25:47

movie set and I realized I had no

25:49

clue how all the departments worked together. I

25:52

didn't know what a grip was. I

25:54

didn't know what an electric, the gaffer

25:56

was. That took

25:58

years, a few years of learning how

26:00

all the departments worked together, which helped

26:02

when I did want to direct. So

26:05

let's talk a little bit specifically

26:07

about how you dealt with actors

26:09

because you come from a very

26:11

different place from most of those

26:13

guys that you worked for. You

26:16

have real literally hands -on

26:18

experience with the makeup

26:20

effects, literally putting your hands

26:22

on the actors. Does

26:25

it have an impact on

26:27

you in terms of how you

26:29

direct the actors. Does that

26:31

particular knowledge and experience change the

26:33

way that you interact with

26:35

them and how you help them

26:37

guide them through a scene?

26:39

Is that different from what you've

26:41

seen other directors do? Well,

26:44

I've worked with directors who don't

26:46

do anything, like the ADs do

26:48

all the interaction with the actors,

26:50

which is weird to me. And

26:53

then I've seen directors who

26:55

are more specific to the actors

26:57

and less on the technical

26:59

side of things. Of course, I

27:01

come from the technical side of things. So

27:04

I do a lot of

27:06

my pre -production planning and everything

27:08

is focused on how we're going

27:10

to achieve a stunner effects or

27:12

whatever. And

27:15

over the years, honestly, I was

27:17

terrified on my first film to direct actors. And

27:20

you do things that

27:22

you realize you should

27:24

just let it. let

27:26

them do their thing,

27:29

which I've had actors where I go

27:31

to tell them and they go,

27:33

you're the director, I'm the actor.

27:35

Just let me do my thing. So

27:37

you realize, okay, cool, cool. And

27:40

the dumbest thing I ever did

27:42

was try to show how to do

27:44

a fall down the steps. You

27:49

gotta get hit. It hits you like the mortar's gonna

27:51

hit you and you fly back and you land on

27:53

your back and I did the gag and then I

27:55

got up and I went, oh, I shouldn't have done

27:57

that. It's dumbass. So you get

27:59

really enthusiastic, you know. I

28:01

think that's great. I think

28:03

that's great. I do, I

28:05

love it. But yeah,

28:07

no, I think I'm a

28:10

better director now than obviously

28:12

when I first started and

28:14

it's just, Because now I

28:16

realize, oh, don't overthink things.

28:18

Let things just happen. And

28:20

have a plan. And

28:23

if the plan changes, that's

28:25

great. But that can

28:27

happen if you have your ducks in a

28:29

row ahead of time. And then you

28:31

just kind of see what happens on set.

28:33

It's very organic. So. Andrew, I want

28:35

to ask you, Robert talked about

28:37

working with some of the masters of the

28:39

directors who you can learn so much

28:41

from. I'd love to know. Maybe

28:44

without naming names directors that

28:46

maybe You weren't had they did

28:48

all the things wrong that Robert's

28:50

alluding to I mean, it's so

28:53

interesting that we revere Hitchcock and

28:55

Yet he was not open to

28:57

you know Everything had to

28:59

be precisely blocked and follow storyboards

29:01

and I would imagine something like

29:03

that would be very frustrating

29:05

for an actor Most

29:07

great directors aren't that slavish to their,

29:10

you know, blocking in their boards. But

29:12

can you talk about maybe things that,

29:14

you know, for aspiring talent, like they

29:16

should absolutely not, this is not the

29:18

way to talk to an actor. You

29:20

know, I can't really say

29:22

that, wow, that that particular

29:25

person really, I have a

29:27

couple, but that that's really more on

29:29

a personal, person to person

29:31

level, eye to eye, face to face. And

29:33

I'll leave it at that. And there are

29:35

a couple that Yeah, you know,

29:37

you want to be a slap

29:39

every now and then, but most of

29:41

all, this is a collaborative effort.

29:44

It is. And I

29:46

accept that and I understand it. And, you

29:49

know, interestingly enough, after the

29:51

first couple of roles where I

29:53

was the antagonist, and, you

29:55

know, I can be sitting there

29:57

drinking a coffee and thinking

29:59

about something, and... could look at

30:01

me and think, oh, wow,

30:03

that guy's about to pop, man.

30:05

He looks evil or something's

30:07

about to go down. can

30:11

be thinking about a funny

30:13

cartoon and look like, I don't

30:15

know, I have a Charles

30:17

Manson look on my face. I

30:19

don't know, but people mistake

30:21

my sort of... my

30:24

intensity in the sense that I'll think

30:26

about something and I'll think about it

30:28

intensely and you'll see my eyes going

30:30

and I'll be thinking about something but

30:32

I'm seeing it play in my head

30:34

and and and to me it makes

30:36

sense and I and I don't often

30:38

think about how people might be looking

30:40

at me and thinking wow that guy

30:42

looks like he's pissed off all the

30:44

time and and I imagine that that

30:47

that sometimes I do so I I

30:49

realized what I had to do is

30:51

actually on a couple of occasions, approach

30:53

the director and let them know, speak

30:55

to them and say, I like to

30:57

be directed. I do. I enjoy being

30:59

directed. And again, it's a collaboration. I

31:02

understand that. They understand that the

31:04

piece has been written. You're here

31:06

to direct it. I'm here to

31:08

portray this particular character. But

31:10

any insight you have, whether

31:12

I feel you and I can come to

31:15

an agreement about how valid or not it

31:17

is, But I

31:19

would say, and especially

31:21

for the aspiring talent, it's

31:23

a collaboration. It ain't

31:25

about you. It's

31:29

essentially teamwork. You're

31:32

going to a set, which is your

31:34

battleground, if you want to think of

31:36

it that way. You have

31:38

a job to do. There's a general. You

31:41

may be playing a general in the movie,

31:43

but you ain't the general on the set.

31:46

You're an actor. And

31:48

again, I go back to, I love the fact

31:50

that it is a collaboration, but I did. I

31:52

did realize that, wow, you know, they're

31:54

not approaching me and they're not sharing.

31:56

Robert was great about it because he

31:58

would, in fact, and they call it

32:00

giving a line reading. I don't mind

32:02

that at all. And again, it's a

32:04

point of view. It's another, you

32:07

know, within a compass, it's

32:09

another degree on the compass that

32:11

comes to bear, that makes

32:13

sense, that's part of that collaboration.

32:16

And altogether, we figure it out and

32:18

it makes for a better story. a

32:21

better sort of participation with

32:23

your fellow actors. And I

32:25

mean, even down to the

32:27

crew, I think it's so

32:29

important, especially for aspiring actors,

32:32

that you don't float onto

32:34

a set, you don't float

32:36

off it. You're not a

32:38

supreme being. This is, again,

32:40

it's a team effort, and

32:43

it's about coming out with

32:45

this fantastic story that spreads

32:47

across this beautiful screen

32:49

that you get to play

32:51

a part in, literally. And

32:53

so I'm very much

32:55

about, and I

32:58

realized that I had to be, I had

33:00

to approach and I had to say, because

33:02

you figure, well, the director, and I'm speaking

33:04

about some TV shows that I love doing, love

33:06

being part of, but you have to

33:08

let them know that... did at any

33:10

rate, let them know that I love

33:12

to be directed. I love to be

33:14

part of this thing. I'm happy to

33:17

be here. So please give me some

33:19

impetus, give me some ideas, give me

33:21

some fire off my synapses, please. I

33:24

want to ask you both, you

33:27

know, when you're making any film, Often

33:29

you can think this movie's gonna be great and can

33:32

turn out to be terrible. You think this movie's terrible and

33:34

can turn out to be great, right? I

33:36

mean look at Jaws how miserable they were and they thought

33:38

this is gonna be the worst movie of all time. So

33:41

my question is it must be

33:43

super gratifying after all these

33:45

years, you know, to see, you know,

33:47

people who are coming up to you

33:49

and, you know, love Wishmaster talking about,

33:51

I mean, a lot of films, you

33:53

know, are forgotten, but Wishmaster is a

33:55

film that just keeps gaining in popularity,

33:57

that's beloved, you've had so many people

33:59

come up. Does it surprise

34:01

you that this film has such

34:03

an afterlife and that it endures? I

34:07

don't know if it surprises me. I mean,

34:09

it's because I've had so many movies I've

34:11

been involved with that have that happened to

34:13

them. And it's just each

34:15

generation like people who love it introduce

34:17

it to another generation and it

34:19

just keeps going and You know, there's

34:21

quite a few movies that came

34:23

out that I worked on that weren't

34:25

successful when they came out but

34:27

now they're beloved and people Are constantly

34:29

collecting they're coming out in different

34:32

versions on 4k and all this stuff.

34:34

So that's the other thing is

34:36

like You know now with the technology

34:38

and everything there seems to be every

34:41

so many years you get a new

34:43

version of something and a revisiting of

34:45

something with new special features and whatever

34:47

so I'm happy that it's it's happened

34:49

and I love it when the when

34:51

people come up in there they're like

34:53

oh my god I would love this

34:55

movie you know I showed it to

34:57

my kids or whatever you know and

34:59

everybody just loves it so that's gratifying

35:01

yeah sure Absolutely, and

35:03

when a family comes up and the

35:06

dads wearing the Wishmaster T -shirt, you

35:08

figure, well, you'll be talking to

35:10

him, but then the kids will come

35:12

up and say, you

35:14

know, I really loved you

35:16

in Wishmaster, and I'm thinking, you

35:19

know, 12 years old, so

35:21

that's absolutely wonderful, and it's heartwarming,

35:23

and obviously years have passed. We're

35:26

going on 30, is it young?

35:29

However, when you're speaking to that

35:31

young person, It's in

35:33

the moment. We're talking

35:35

about something that is essentially

35:37

frozen in time, and we're

35:40

referring to that. And it's

35:42

just a really a... a

35:44

wonderful back and forth interaction. And

35:47

so whereas I thought I'd be talking

35:49

to the guy with the t -shirt,

35:51

with the wish mask t -shirt, I'm talking

35:53

to the kids, we're going back and

35:55

forth. And it's just, I mean, when

35:57

they leave, I've got a bigger smile

35:59

than when they came up. And so

36:01

that it is, it's so rewarding, absolutely.

36:04

And, you know, I'd be remiss if we didn't

36:06

ask you, Robert, about, you know, obviously

36:08

from Dust Till Dawn, which was,

36:10

you know, Something you wanted to direct

36:12

originally, but you conceived of you

36:14

created the story for and is a

36:17

film that obviously is beloved that

36:19

you went on to work on it

36:21

spawns a TV series as well

36:23

Can you tell us a little bit

36:25

about your that journey with them

36:27

from Dustle Dawn and obviously your relationship

36:29

with Quentin? Yeah

36:31

Well Okay, yeah, so it

36:33

was about 88 I think

36:35

is when I came conceived

36:37

the story and I wrote

36:39

a 24 -page treatment Originally,

36:41

John Esposito, our mutual friend, was

36:44

going to write the screenplay, and he was

36:46

doing graveyard ship to Stephen Kingfoam. He

36:48

went away to do that, and he said,

36:50

look, I'm not going to be able to

36:52

write this. Let's just find somebody to write

36:55

this. I wasn't confident enough to tackle it

36:57

myself at that time. I could come up

36:59

with an idea and put the basics down

37:01

on paper, but laying out all that cool

37:03

dialogue and everything wasn't me. So

37:05

we were introduced

37:07

to Quinton through mutual

37:09

friend who Say,

37:11

hey, there's this kid. He

37:13

worked at a video store. It works at,

37:15

I forget what it's called, down

37:17

in Laguna Beach or something. And

37:20

he's written a bunch of screenplays that he might

37:22

be somebody you want to look at. So

37:25

Quinton sent me

37:27

three screenplays as sample

37:29

scripts. Natural Born

37:31

Killers, True Romance, and

37:33

Reservoir Dogs. Fantastic. And

37:36

I was like, holy shit, these are

37:38

great. And he's definitely got, it's

37:41

definitely, you know, some

37:43

of it was like so

37:45

kind of hardcore, dialogue -wise

37:47

and risque, whatever. But

37:50

we were like, oh, this, he's perfect. Plus

37:52

when I met with him, he was into all

37:54

the same kind of movies, even more so. You

37:57

know, he's a total cinephile. So, but

37:59

he, we connected on the same kind

38:01

of horror films and things that we

38:03

loved and talked about how we wanted

38:05

to do the movie. and how it

38:07

was gonna be two movies in one,

38:09

or like halfway through the movie, it

38:12

switched gears, which is why it took

38:14

so long to get anybody interested in

38:16

it, because every time we took it

38:18

to a studio or whatever, they would

38:20

reject it, but it was also, there

38:22

was a couple scenes in there, like

38:24

the Cheech Marin scene, which just pushed

38:26

it over the top to where -

38:28

When he was talking about cats. Yeah,

38:30

yeah, where they were like, no, we're

38:32

not making this movie. In

38:35

fact, when I was directing it, I

38:37

was working with Sam Elliott on, was

38:39

it Tombstone or the other one?

38:41

No, Sam's on Tombstone. The greatest movie

38:43

ever made. So he needed like

38:45

a broken arm thing made for when

38:48

he got shot to restrict his performance

38:50

or whatever. And we had worked with

38:52

him on a movie called Sibling

38:54

Rivalry where we had to do his

38:56

corpse head and everything. And

38:58

so I sent the

39:00

script to Sam to play

39:03

to see if he'd be interested in doing the

39:05

Earl McGraw opening that Michael Parks plays in

39:08

the movie. Because I thought he would be perfect.

39:10

And so he read it and then

39:12

he was kind enough to contact

39:15

me back and say, this

39:17

is not my cup of

39:19

tea. So he just

39:21

like, he thought it was

39:23

a bit, it pushed the limits

39:25

a bit. But

39:27

anyway, he did read it, which was

39:29

fun. but

39:31

ended up, you know, trying to

39:34

get it off the ground for about

39:36

eight years, up and down. We

39:38

had lots of up and downs almost

39:40

happening and then not and whatever. And

39:43

then Robert Rodriguez and Quentin

39:45

were talking one day and

39:47

Robert asked, hey, whatever happened

39:49

to that script from Dust

39:51

Till Dawn? And he goes,

39:53

well, Kurtzman owns that script

39:55

and he wants to direct

39:57

it. So what happened was,

40:01

going kind of full circle there. Once

40:04

Robert got interested he was hot because

40:06

he was coming off El Mariachi and Desperado

40:08

and he was looking for his next

40:10

project and after eight years me and John

40:12

were like man we can keep you

40:14

know trying to struggle to push this and

40:16

we were trying to make a three

40:18

million dollar movie and now what was gonna

40:20

change it was gonna be a much

40:22

bigger film. was

40:24

still going to do the effects with my KMB, and

40:27

it was a big showcase for us

40:29

as well. And I get a story

40:31

credit, and we were like, let's just

40:33

do this. It's going to be bigger

40:35

movies. It's going to have bigger stars

40:37

in it, and we're going to have

40:39

the ability to throw everything at it

40:41

effects -wise. And

40:44

that's how it happened then. And

40:46

then Quinton wanted to play that

40:48

role, so he beefed up that

40:50

whole character with the pervy stuff. and

40:54

we extended out the hotel sequence.

40:58

And then that's the movie. So...

41:00

So let me ask you about, again,

41:03

sort of wrapping it back to Wishmaster

41:05

a little bit. So, you know, Wishmaster

41:07

was kind of lightning in a bottle

41:09

in the sense that, you know, it

41:11

spawned a franchise, very respectable franchise in

41:13

terms of, again, we've talked about the

41:15

audience who, to this day, wants

41:17

to talk to you about that film, the sequels,

41:19

know, you name it. And,

41:22

you know, we have the lightning

41:24

in a bottle phrase, but if you

41:26

think about that, right, you said

41:28

you worked for all of the greats,

41:30

John Carpenter, Sam Raimi, you

41:32

know, Clive Barker, for

41:34

God's sake, even John McTiernan

41:37

on Predator. I mean,

41:39

these are all guys, Mike Flanagan,

41:41

these are all guys who turn

41:43

in things that consistently connect, right?

41:45

If they were batters in Major

41:47

League Baseball, They would be some

41:49

of the greatest batters of all

41:51

time. So there's something that they're

41:54

doing that's making the material connect. You

41:56

know, from your experience working with

41:59

them, your experience working on Wishmaster,

42:01

directing that film and creating that

42:03

story and that world, what do

42:05

you think is the thing that

42:07

really makes the audience connect to

42:09

a film or to a character?

42:12

I don't think you can guess that

42:14

up front. Like, you literally can't. So

42:16

you have to just believe in the

42:18

project you're doing. and believe that you're

42:20

going to make the best thing you

42:22

can out of it, but you have

42:24

no clue, because so many obstacles get

42:26

thrown at you during production. I mean,

42:28

you can go into it thinking, you

42:30

could have the best script ever, the best

42:32

cast ever, and go into it, and there's going

42:34

to be 100 obstacles that could derail the

42:36

whole thing. And then

42:38

there's marketing it, and the time

42:40

it comes out, and whether that

42:43

connects with the audience at that

42:45

time. So it's really hard to

42:47

quantify that. I

42:49

think it's a crapshoot because there's been

42:51

so many times I've been on a

42:53

film production go This is gonna be

42:55

the biggest piece of shit ever and

42:57

I had a miserable time shooting it

43:00

and then it comes out and it's

43:02

very successful so You know and you're

43:04

like well some people fail up a

43:06

hill too. So it's like But I

43:08

don't know any I've been your experience

43:10

as well. I mean you've worked on

43:12

things where you just think this movies

43:14

can be terrible and very great advice

43:16

so yes, I mean And

43:18

again, I'm not the

43:20

guy to count on

43:22

my bets. I'm not

43:24

a guy who, yeah,

43:27

let's put it all on black. Let's see

43:29

what happens. I

43:31

think, you know, the

43:33

gentleman you mentioned and their

43:35

stories, the hero.

43:37

And I think ever

43:40

since really leading up

43:42

to the 2001 and

43:44

after that, I think,

43:47

I think the hero has taken

43:49

a little bit of a dark

43:51

turn, whereas before he was a

43:53

fairly pristine, you know, all

43:56

-American, could -do -no -wrong

43:58

kind of thing. But afterward,

44:00

I think there was

44:02

a bit of an edge

44:04

to the protagonist, to

44:06

the hero you want to

44:08

love. And I think

44:11

the audience also yearns for

44:13

a badass, good guy,

44:15

you know? which

44:17

a lot of the films that

44:19

you mentioned and McTiernan and Predator,

44:21

et cetera, they

44:23

have that edge. They want

44:25

to see this guy not only

44:27

be an all -American, a good

44:30

superhero, if you will, but

44:32

they want that edge. You

44:34

can be pushed so far, and

44:36

then even your good guy hero has

44:39

to have that flinch, has to

44:41

have that turn where he sort of

44:43

turns the tables and becomes oh

44:45

my god for that second even Just

44:47

the baddest ass, you know, you

44:49

know, dude I think in a sense

44:51

in a in a in a

44:53

in a sort of a I don't

44:55

know maybe a few few degrees

44:58

Turn turned down from there. I think

45:00

the wishmaster was kind of that

45:02

But ever the the underdog because he

45:04

couldn't make his own wishes He

45:06

had to sort of manipulate other other

45:08

people's wishes. I I think People

45:10

in the audience, when that thing first

45:12

came across, they were waiting to

45:14

see what was going to happen, almost

45:16

like what's around the next turn

45:19

of the roller coaster kind of thing.

45:21

Hope it's dangerous, and hope it

45:23

makes me shriek and scream, and freaks

45:25

me out, and it's brand new

45:27

for me. But

45:29

I kind of, you

45:31

know, people ask me

45:33

sometimes, do

45:36

I feel typecast, playing the

45:38

bad guy? I

45:40

really don't. I played

45:42

a couple of good

45:44

guys. I must tell

45:46

you, I've never been

45:48

so bored in my

45:50

career, but you know, because

45:52

a good guy can, I mean, God forbid

45:54

he should scold the puppy. Whereas,

45:57

you know, if you have a bad guy,

45:59

you figure he's gonna come across a cat

46:01

or whatever and kick it, but he bends

46:03

down and it gives a little scratch on

46:05

the head. Oh my God. And then he

46:07

kicks it. Yeah. Right. But

46:11

I just, again,

46:13

going back to the great

46:15

premise of your question, you

46:17

can never tell, brother. You

46:19

can never tell what the

46:22

super sauce, what the secret

46:24

sauce is. And

46:26

as Robert said, you just show up,

46:28

you do your best, and again, you

46:30

count on there being a collaboration, and

46:32

you know that everybody showed up, like

46:34

you were saying, batters, there's nine of

46:36

them, and they all got to work

46:38

together, then they got to go out

46:40

in the field and do what they

46:42

got to do out there, and the

46:45

boss is watching, making sure he orchestrates

46:47

everything, so it's, woof, it's talk about

46:49

serendipity, baby, it's, you never know, you

46:51

never know. I think too, If

46:54

you look at those

46:56

movies that we consider

46:58

timeless, that everyone will

47:00

continue to watch and

47:02

love, if they're

47:04

entertaining, no matter what their flaws

47:07

are, if you keep the audience

47:09

engaged and they're entertaining, that's

47:11

why Evil Dead's one

47:13

of those perfect movies where

47:15

it's so flawed and

47:17

with everything, dated effects,

47:19

whatever you wanted to

47:21

say. But

47:24

this one thing Sam told me when

47:26

I was directing my first film, he

47:29

just said, make sure

47:31

they'll forgive everything. They'll

47:33

forgive acting, production value,

47:37

bad effects, whatever,

47:40

as long as you keep them totally engaged

47:42

and entertained. So I think

47:44

those movies are that way, the ones

47:46

you're speaking of, so the ones that

47:48

everyone gravitates towards. And

47:50

I try to like, yeah, not bore

47:52

the audience, you know, just

47:54

keep it going and they're

47:57

having fun, you know. See,

47:59

you're getting a master class. So in the

48:01

last few minutes that we have, thanks

48:03

everybody. There should be

48:05

a mic out there if you want to

48:07

ask a few questions before we wrap things

48:09

up. I'm sure you have some questions. So

48:11

right there at the mic, there's a spotlight. You

48:14

can be in the spotlight. It's

48:16

time to light the lights. The stage is yours, even

48:18

you, Patty. OK.

48:22

Fantastic. Go ahead. Hi. How's

48:24

it going, guys? I had a question

48:26

for Andrew first. What was the most

48:28

memorable experience you had working on the

48:30

Wishmaster movies that you did? You

48:33

know, I would always get a

48:35

kick out of being sort of when

48:37

we were resting. I

48:40

had an RC motor on

48:42

my back to articulate these sort

48:44

of antlers or the horns,

48:46

if you will. And

48:48

I remember that so when I would

48:50

sit in a chair, I would literally be

48:52

sitting like this. And so after

48:54

a while, I said, you know, let's

48:57

let's get a like a like a two

48:59

by 10 board and we'll prop it

49:01

on the wall. And then I just kind

49:03

of leaned back and I'd be there

49:05

for a while. And I remember sort of

49:07

often the shadows kind of kind of

49:09

just just chilling, maybe getting some shut eye.

49:12

And I remember people would walk back

49:14

and forth and not notice that I was

49:16

there. And then every now and then

49:18

they'd notice and they'd freak and they go,

49:20

oh, And they, ah, you know, it

49:22

freaked me out. And one of the one

49:24

of the crew's moms had showed up

49:26

one day and I just kind of wanted

49:29

to have some fun. And so she

49:31

walked by a couple of times and didn't,

49:33

again, didn't notice I was there. And

49:35

one of the times I just kind of

49:37

gave them that. Just kind of

49:39

freaked her out. And that was kind

49:41

of fun for me. That was my fun.

49:45

Other than that, I think

49:47

there was a day with

49:49

Tammy, and this was a

49:51

day when Robert did, thankfully, he

49:53

said, you know, I want that.

49:56

So the line is, fuck it, like that.

49:59

And so kind of Robert said, nah,

50:01

I want it, because it was, I was

50:03

giving more of him, oh, fuck it,

50:05

like that. But Robert said, nah, I want

50:07

it, I want it, bite it, bite

50:09

it, give it a bite, you know, make

50:11

it. And so, That was

50:13

cool. And it was cool to see Tammy

50:15

Lauren's reaction to that, too. And

50:17

I got to tell you, I kind

50:19

of felt good saying it. Saying it that

50:22

way, yeah. It was kind of fun. Thanks

50:24

for the question, brother. Yeah, of course. I

50:27

also had a question for

50:29

you, Robert. What was the most

50:31

memorable effect on Wishmaster for

50:33

you? Because there's obviously that beginning

50:35

scene in Wishmaster, which

50:37

is absolutely crazy. I wonder if you

50:40

had a favorite from that. Well,

50:45

I have to say, sorry. I love

50:47

the guy who didn't split out

50:49

of the skin in the opening or

50:51

whatever. There's just so much going

50:54

on, but I'm fond of the statue

50:56

sequence in the hallway at Beaumont's

50:58

Mansion at the end. I really loved

51:00

making those statues and what the

51:02

guys pulled off, and I

51:04

thought that was the most fun.

51:08

My favorite kind of scene,

51:11

though, Initially

51:13

doesn't have you in it the

51:15

first part of it, but the

51:17

whole thing it's when Wendy or

51:19

the professor. I'm sorry is Sitting

51:22

with Tammy and they're doing the

51:24

the back and forth and she

51:26

keeps trying to get a wish

51:28

out of her and then you

51:30

realize that She's you you know

51:32

and I thought that was just

51:34

a really fun sequence to do

51:36

and that they tore it up

51:39

and then then it just keeps

51:41

going and she was wonderful, wonderful,

51:43

wonderful actress. You're right,

51:45

it was kind of, and then

51:47

it's so wonderful to watch Tammy

51:49

Lauren realize, oh, right, let me

51:51

get out of here. It's

51:55

beautiful. Thank you

51:57

so much. Thank you. No bridal free

51:59

animator questions for Robert. I

52:02

talked to Robert on Friday

52:04

about Friday Reanimator. was

52:07

very cool. Any

52:09

last questions? We've got to wrap it up

52:11

here. Well, of course, they'll be at their booth

52:13

signing. So if you're shy and you don't

52:15

want to be in the spotlight, you can go

52:17

talk to them at their booth, get their

52:19

autographs, talk to them about their careers. So

52:22

look, thank you so much for joining

52:24

us this morning, getting up early on

52:26

the Sunday, missing church, whatever. Sorry,

52:28

so I didn't... Would you mind if

52:30

I... little kind of a treat thing I

52:32

like to do for the fans. Please

52:34

do. Absolutely. I will ask them to all

52:36

close their eyes if they would join

52:38

in. If Robert, you can

52:40

keep yours open. So

52:43

please close your eyes and we'll

52:45

do a little quote here for

52:47

you. Run,

52:49

insect. Run

52:52

until those you will, what

52:54

you will. Tell

52:56

them there is something loose in

52:58

their city. and

53:00

something which feeds on

53:03

wishes. But

53:05

tell them quickly,

53:08

while you still have a

53:10

soul. Thank

53:15

you

53:18

guys. Wow,

53:35

that was really fun. It's always great

53:37

to sit down here on Deck 78

53:39

and discuss things we can on the

53:41

other podcasts. Yeah, well, we

53:43

could, but people would stop listening. I

53:46

know. That's right. They would say,

53:48

this is not Star Trek. This is

53:50

not the 430 movie. This is

53:52

not list of podcasts go here. I

53:55

don't want to break the illusion,

53:57

but we're not really on Deck

54:00

78. So if you

54:02

were, what would you be drinking, Steve? What

54:04

would I be drinking I should be drinking

54:07

a pina colada and getting caught in the

54:09

rain getting caught in the rain Wow, I

54:11

wish it would rain. Okay. What

54:13

about you down? What would you

54:15

be drinking on deck 78 if

54:17

I think I have a star

54:19

ship I think I have a

54:21

pan galactic gargle blast What about

54:23

you Ashley? You

54:25

know what I'm gonna go with the blood of my enemies The

54:28

blood of your enemies. OK, well, that's

54:30

great. Well, thanks for joining us for another

54:32

Tech 78. Wait, what's your drink, Mark? Yeah,

54:35

Mark. Oh, I know. Sure.

54:40

I'd like a chocolate milkshake

54:42

and a silver chowder. Silver

54:45

goblet. Silver goblet, OK. So

54:47

you're listening

54:50

to Rainwater.

54:52

The show

54:55

is produced

54:57

by Peter

55:00

Holmstrom, Brian

55:02

Mix. original

55:04

music by Joe Kramer video at

55:06

no actually original music by Darren Dockman

55:08

in this case video editing by

55:10

Brian mix you can open hailing frequencies

55:13

with us by emailing us at

55:15

trexford plus gmail and you can find

55:17

us on all major social channels

55:19

and glorious trek or 430 movie pod

55:21

and instagram facebook threads twitter and

55:23

blue sky you can also subscribe to

55:25

deck 78 on the inglorious trexford's

55:28

feed or at the 430 movie subscription

55:30

feed so until Two weeks

55:32

from now thanks for joining

55:34

us at 78 we can't wait

55:36

to see again and until

55:38

then fire the rockets.