Full Transcript for Jurassic Park

this is what was at at cutting edge at the time? 00:05:00.480 --> 00:05:06.560 Well, I mean, literally the entire ability to create dinosaurs in that way was cutting edge. 00:05:06.800 --> 00:05:08.160 It was not the original plan. 00:05:08.560 --> 00:05:08.720 Oh. 00:05:09.040 --> 00:05:18.079 You know, the original plan was uh Phil Tippett doing what he called Go Motion, which was a type of stop motion, and he was well into working on it. 00:05:18.319 --> 00:05:31.199 His team had been paid, they had test footage, and meanwhile, uh a group of two artists at ILM at Industrial Light and Magic uh just started messing around. 00:05:31.360 --> 00:05:46.399 They thought that they could do it, and they weren't supposed to, but on this on the side, this guy, Steve Spaz, and then Mark DePay were slowly building out an orthographic skeleton of a T-Rex walking. 00:05:46.879 --> 00:05:53.680 And they weren't supposed to be doing this, but they did it because they thought they could do it better than Phil Tippett's stop motion. 00:05:53.920 --> 00:06:03.920 And then one day, Kathleen Kennedy came to ILM to view some other dailies, and they just had it sitting up on a screen when she came in. 00:06:04.800 --> 00:06:06.800 And she went, What's that? 00:06:06.959 --> 00:06:16.399 And and what Spaz always says afterwards is that she looked at it for a little while and just put her hand on his shoulder and said, You've got a successful career ahead for you. 00:06:16.639 --> 00:06:18.079 It's something along those lines. 00:06:18.319 --> 00:06:26.160 And at that point, the the actual uh VFX supervisor on the show just pretended like it was part of the plan as a test they were doing. 00:06:26.399 --> 00:06:30.720 I know the two of them got in a little bit of trouble, but they kept building. 00:06:30.959 --> 00:06:34.959 And eventually Spielberg saw it and was just like, we have to do this. 00:06:35.120 --> 00:06:35.279 Yeah. 00:06:35.439 --> 00:06:37.279 And it literally changed the movie. 00:06:37.600 --> 00:06:53.519 Phil Tippett went from building the uh the stop motion rigs to using that as reference and then working with the ILM crew to actually properly set the motion of the dinosaurs. 00:06:53.680 --> 00:06:59.680 That's why he's always credited as like the I think it's the dinosaur wrangler in the credits, and people always joke that he failed. 00:07:00.079 --> 00:07:02.240 Well, I mean, they did not get wrangled very well. 00:07:02.560 --> 00:07:02.800 Yeah. 00:07:02.959 --> 00:07:03.120 Yeah. 00:07:03.519 --> 00:07:04.639 They started eating the guests. 00:07:04.959 --> 00:07:25.680 But they were literally building from computer code and software that wasn't ready to do it, how to build out this that became kind of the launching off point for ILM's bigger push into organic creatures as opposed to the more inorganic the liquid metal from T2 was like the step before this. 00:07:26.399 --> 00:07:28.079 But it was still inorganic. 00:07:28.160 --> 00:07:28.319 Yeah. 00:07:28.480 --> 00:07:31.199 And and you know, didn't have to look like a creature. 00:07:31.600 --> 00:07:32.879 And so that was the big push. 00:07:32.959 --> 00:07:42.720 And Phil Tippett still helped them understand how to, you know, set the weight right, how to uh, you know, make the motion feel real. 00:07:43.199 --> 00:07:56.319 I mean, just looking at this film from a 1993 perspective, at some point somebody has to put their foot in their mouth and and and take a little on the chin to move the the needle. 00:07:56.480 --> 00:08:08.399 What I found fascinating was uh there's a point where Jeff Goldblum is talking about the idea that, like, look, you took technology that was there and and and you didn't ask if you should. 00:08:08.800 --> 00:08:11.600 Oh my God, that whole scene hits differently. 00:08:11.920 --> 00:08:12.560 That's AI. 00:08:12.639 --> 00:08:13.439 They're talking about AI. 00:08:13.839 --> 00:08:14.879 I mean, they weren't talking about AI. 00:08:15.040 --> 00:08:17.279 No, but that conversation have been talking about it. 00:08:18.399 --> 00:08:20.480 Yeah, you were standing on the science. 00:08:20.720 --> 00:08:25.279 You're you're sitting on like, you know, technology that that like w what are we feeding it? 00:08:25.439 --> 00:08:34.000 You know, there there's a whole situation right now where they're taking like every book they've ever found and ripping pages out of them and and you know, scaling them into the AI. 00:08:34.399 --> 00:08:36.159 You don't even know what you're doing. 00:08:36.480 --> 00:08:41.759 You are just taking what was done by people who were in the field, these great scientists. 00:08:41.919 --> 00:08:46.240 And so like you don't have any accountability because you didn't actually do the work. 00:08:46.399 --> 00:08:52.799 Yeah, boy, if that's like that just hits so different interviewing today. 00:08:53.120 --> 00:08:59.759 When you're talking about 1993, the special effects, it immediately made me think of what year did Forrest Gov come out? 00:08:59.919 --> 00:09:01.600 So then I had to go and quickly check. 00:09:01.679 --> 00:09:03.200 And it's like, oh, the following year. 00:09:03.440 --> 00:09:03.679 Yep. 00:09:03.840 --> 00:09:05.440 Um leaps and bounds. 00:09:05.600 --> 00:09:05.840 Right. 00:09:06.000 --> 00:09:14.159 Yeah, I was gonna, I was gonna ask, especially uh in that year, um, and doing something that had never been done before. 00:09:14.399 --> 00:09:22.720 I'm thinking of like the computer processing time for like that landscape shot when you know. 00:09:24.320 --> 00:09:24.879 Yeah. 00:09:25.120 --> 00:09:27.840 Like I can only imagine days. 00:09:28.080 --> 00:09:30.960 Days to see, did this work right? 00:09:31.120 --> 00:09:31.519 You know? 00:09:31.840 --> 00:09:36.559 And then you see one dinosaur's leg come through its head and you're like, damn it, we gotta do it again. 00:09:36.960 --> 00:09:51.679 But then you add on because of all that and

trying to put it together, you know, with all these CG shots, you know, Spielberg was actually reviewing stuff via satellite from what, Poland while he was filming Schindler's List. 00:09:51.919 --> 00:09:52.320 Oh my god. 00:09:52.559 --> 00:09:59.279 He was filming Schindler's List, and then at night he was looking at dailies from Jurassic Park. 00:09:59.840 --> 00:10:03.200 This movie, the content is so heavy. 00:10:03.519 --> 00:10:09.919 The idea that you are messing with things that you don't understand, and as humans, we tend to do that. 00:10:10.240 --> 00:10:15.679 And the catastrophic events that can can occur when you don't know what you're messing with. 00:10:15.840 --> 00:10:22.559 And yet the the humor, the the silliness is so good. 00:10:22.879 --> 00:10:23.279 Yes. 00:10:23.440 --> 00:10:29.120 We I tend to quote this this movie uh quite often uh uh with my children. 00:10:29.360 --> 00:10:34.559 I know stick's stupid, no wonder your species is extinct, is something I actually say fairly frequently. 00:10:34.960 --> 00:10:37.440 He likes to parent through movie quotes. 00:10:37.679 --> 00:10:37.919 Yes. 00:10:38.080 --> 00:10:38.879 That checks out. 00:10:39.200 --> 00:10:42.879 And then one day our children will be like, oh, that's right. 00:10:43.440 --> 00:10:44.639 That's where, you know. 00:10:49.840 --> 00:10:57.919 Is like they'll do something and and they will realize that it was a bad decision because I will look at them and go, You chose, and they'll be like, poorly. 00:10:58.240 --> 00:10:58.879 Yeah. 00:10:59.840 --> 00:11:04.159 But must go faster is something we say all the time. 00:11:04.480 --> 00:11:04.720 Right. 00:11:04.960 --> 00:11:10.879 And fun fact, Jeff Gobblem, at least, at least two movies, he says it in the exact same way. 00:11:11.200 --> 00:11:11.519 Yes. 00:11:11.759 --> 00:11:13.759 He says it in Independence Day. 00:11:13.919 --> 00:11:19.919 In Independence Day, and in this, and I feel like it's the exact same cadence, everything. 00:11:20.080 --> 00:11:20.320 Oh, yeah. 00:11:20.480 --> 00:11:21.120 Must go faster. 00:11:21.440 --> 00:11:22.080 Must go faster. 00:11:22.480 --> 00:11:23.360 This is his catchphrase. 00:11:23.440 --> 00:11:24.639 He uses it in all his movies. 00:11:24.799 --> 00:11:26.399 Yeah, it was in Wicked for Good. 00:11:26.480 --> 00:11:27.600 You just didn't realize it. 00:11:27.759 --> 00:11:27.919 Yeah. 00:11:28.159 --> 00:11:30.399 They were building the Rick Road, and he was like, muscle faster. 00:11:30.559 --> 00:11:32.159 Muscle faster, muscle faster. 00:11:33.360 --> 00:11:49.440 But uh one thing I just wanted to mention, like in the rewatch, especially um uh in that landscape sequence when they first see, like, you know, all the dinosaurs, and there's that that still gets to me, like the the awe beauty of it. 00:11:49.679 --> 00:11:59.759 That low shot where they're walking up to the tree and the dinosaur gets up on its back legs to reach the tree and then comes back

down. 00:11:59.840 --> 00:12:06.559 And just like I felt in in in my my living room, I felt like the ground shook. 00:12:06.720 --> 00:12:07.440 You know what I mean? 00:12:07.519 --> 00:12:11.600 Like I it just it it's a very intense moment. 00:12:12.000 --> 00:12:23.120 Part of that, I mean, they didn't have what we have now with like real-time render engines, with you know, physics simulations, with the ability to actually calculate light. 00:12:23.279 --> 00:12:24.879 They just had to paint it. 00:12:25.039 --> 00:12:25.279 Yep. 00:12:25.519 --> 00:12:39.279 So it was the combination still of amazing creative artists being well directed and focused on a well-thought out framing of an image. 00:12:39.519 --> 00:12:39.759 Yes. 00:12:40.159 --> 00:12:42.559 And using new equipment and tools to do it. 00:12:42.799 --> 00:12:43.120 Yep. 00:12:43.200 --> 00:12:43.519 Yeah. 00:12:43.759 --> 00:12:47.919 And that's why it holds holds together, because they're not worried about it being real. 00:12:48.080 --> 00:12:49.039 I mean, how could it be real? 00:12:49.120 --> 00:12:50.720 It's modern dinosaurs. 00:12:51.039 --> 00:12:51.440 Yes. 00:12:51.679 --> 00:12:51.919 Right? 00:12:52.320 --> 00:12:54.559 But but it looks gorgeous. 00:12:55.440 --> 00:12:55.679 Yes. 00:12:55.919 --> 00:13:01.039 Yes, and the acting really helps sell the awe and the fear. 00:13:01.279 --> 00:13:05.440 There's some incredible performances, especially uh the granddaughter. 00:13:05.600 --> 00:13:08.159 Her terror is so good. 00:13:08.559 --> 00:13:13.519 She is so scared through all of it, and it feeds the tension. 00:13:13.840 --> 00:13:14.960 Ariana Richards. 00:13:15.120 --> 00:13:15.919 Yes, thank you. 00:13:16.159 --> 00:13:19.039 And then Attenborough, uh, Richard Sir. 00:13:19.600 --> 00:13:20.320 Yes, sorry. 00:13:20.559 --> 00:13:20.720 Sir. 00:13:21.279 --> 00:13:27.519 But back in the day, um, he was Santa Claus in Miracle on 34th Street, which doesn't come out to the following year. 00:13:27.600 --> 00:13:31.120 But in my mind, that's like in my imprint of him. 00:13:31.360 --> 00:13:31.679 Correct. 00:13:31.840 --> 00:13:35.600 So he's always like the Santa Claus of dinosaurs to me when I think about it. 00:13:39.840 --> 00:13:42.559 I don't think I will be able to picture him in any other way. 00:13:42.720 --> 00:13:42.879 Yep. 00:13:43.120 --> 00:13:43.360 Right? 00:13:43.440 --> 00:13:46.720 Because he's got a cane and he's just so happy. 00:13:46.799 --> 00:13:50.240 He's very jolly about all of the joy he's gonna bring. 00:13:50.399 --> 00:13:57.360 And it's not just to the rich people, it's to all the people and all the children, especially, you know, the the the children. 00:13:57.519 --> 00:13:58.399 It's all for them. 00:13:58.559 --> 00:13:59.840 And he spares no expense. 00:14:02.879 --> 00:14:05.200 And then he sits around eating ice cream when he's sad. 00:14:05.279 --> 00:14:06.480 He was so Santa. 00:14:07.039 --> 00:14:09.039 That's actually a

big change from the book. 00:14:09.279 --> 00:14:09.360 Oh. 00:14:10.480 --> 00:14:16.240 Much more of just a just a billionaire that, you know, what was was just greedy. 00:14:16.399 --> 00:14:41.360 And and one of the things that Spielberg changed and really understood was that in order to make it work in this medium and this length, changing him into that that like devolving back into just being the scared grandfather who's figuring that he you know sent his grandchildren off to their death is is much more, you know, visceral cinema and really helps balance the story. 00:14:41.519 --> 00:14:46.000 But but you know, that's something that Richard Attenborough could do. 00:14:46.240 --> 00:14:49.440 I don't know if you had someone else if they could do it so well. 00:14:49.840 --> 00:14:52.960 I love like how you see all the greed. 00:14:53.360 --> 00:14:54.720 Mostly just from the lawyer, thankfully. 00:14:54.960 --> 00:14:55.120 Right. 00:14:55.200 --> 00:14:57.840 Well, no, there's the the lawyer and Dennis. 00:14:58.639 --> 00:14:59.519 And Dennis. 00:14:59.840 --> 00:15:03.120 Or as I like to say, as soon as he entered screen, Newman. 00:15:03.759 --> 00:15:04.240 Yeah. 00:15:04.639 --> 00:15:15.120 Sir Richard Attenborough says, even Disney World had all these issues where you know, it's like, yeah, but when Disney World opened up, the Pirates of the Caribbean didn't try to eat the the guests. 00:15:15.360 --> 00:15:16.320 Like, oh shit. 00:15:16.559 --> 00:15:17.759 Yeah, that's a good point. 00:15:18.559 --> 00:15:26.159 Goldblum, like it it seems like his job is just to be lounging the whole time, either with a broken leg or in the vehicle. 00:15:26.240 --> 00:15:33.360 Everywhere he's just kind of sprawled, kind of just uh looks like a if he could put a chase under him at any point. 00:15:33.519 --> 00:15:36.879 Um and and then his shirt has to be open the whole time. 00:15:37.200 --> 00:15:37.759 It's a very good thing. 00:15:40.879 --> 00:15:41.519 Yes. 00:15:42.720 --> 00:15:50.480 Even in the back of a Jeep running away from the dinosaur saying must go faster, he's still lounging. 00:15:51.279 --> 00:15:56.159 And by the way, that's another VFX shot of running away from T-Rex. 00:15:56.720 --> 00:15:59.039 And even though you know you don't even think about, right? 00:15:59.200 --> 00:15:59.360 Right. 00:15:59.600 --> 00:15:59.840 No. 00:16:00.159 --> 00:16:00.879 No, no. 00:16:01.519 --> 00:16:09.840 How well it is that that had to have been it, what was on the screen when uh uh Kathleen Kennedy saw it. 00:16:10.000 --> 00:16:12.480 Honestly, that that was It's terrifying. 00:16:12.639 --> 00:16:13.039 You're scared. 00:16:13.279 --> 00:16:14.639 You know they're gonna make it into your score. 00:16:15.600 --> 00:16:18.639 On the edge of your seat on that in that particular sequence. 00:16:18.879 --> 00:16:24.960 Um, and then I mean, what helps get you onto the edge of the seat, of course, is the music. 00:16:25.200 --> 00:16:37.519 John Williams, legend that he is, has such a beautiful score that has so much hope and anxiety mixed in thoughts on on scoring. 00:16:37.840 --> 00:16:42.320 Yeah, I feel like it it it it hits all the notes uh no punites. 00:16:43.039 --> 00:16:47.840 No, uh all the all the beats in the story that you're trying to hit. 00:16:48.000 --> 00:16:57.360 The the wonder along with the horror and and just and the sinister nature behind uh closed doors and all of that, just so awesome. 00:16:57.600 --> 00:17:02.480 I mean all you need is three notes played now. 00:17:03.039 --> 00:17:07.920 And I and I yeah, and yeah, I know exactly immediately where it is. 00:17:08.160 --> 00:17:20.480 I feel that the back of my neck, the the hair's standing again, and and just I'm I'm back in that theater at you know uh 11, just this is amazing. 00:17:20.880 --> 00:17:27.200 Uh because it was so thematic and and just uh at the same time, yeah, beautiful. 00:17:27.440 --> 00:17:27.759 Yeah. 00:17:27.920 --> 00:17:32.720 It's amazing how evocative it still is without seeing anything. 00:17:32.960 --> 00:17:33.119 Yeah. 00:17:33.279 --> 00:17:33.599 Just that. 00:17:34.079 --> 00:17:49.440 You can just listen to that score and immediately know what what sensations you you might not know the exact scene that is going on, but you can feel exactly the the what you are supposed to be feeling at that moment uh without fail. 00:17:49.759 --> 00:17:49.920 Right. 00:17:50.079 --> 00:17:50.640 Tells the story. 00:17:50.880 --> 00:17:51.200 Oh yeah. 00:17:51.359 --> 00:18:03.359 Well, and and then like uh in the scene where Dennis is done in, the tension in that scene, and it's one of those things where um you don't even uh you don't see anything, right? 00:18:03.519 --> 00:18:06.319 It's all inside the vehicle, really, right? 00:18:06.720 --> 00:18:14.079 And and yet I know with the music and and and everything going on, I'm I'm already like my hands are in front of my face, and I'm like, I don't want to look. 00:18:14.160 --> 00:18:15.359 Even though I know that you're not gonna see anything. 00:18:15.440 --> 00:18:16.400 I'm like, I still don't want to look. 00:18:16.640 --> 00:18:19.759 Yeah, they honestly did an amazing job of keeping the gore out of this one. 00:18:20.000 --> 00:18:28.720 Off the top of my head, I can't think of another movie where I'm like, this is a terrifying movie, it's very scary, and the score is just beautiful. 00:18:29.839 --> 00:18:34.559 You know, like that's they're like very like contradicting things. 00:18:34.720 --> 00:18:37.200 Like I think of the score and I think, oh, it's an amazing score. 00:18:37.279 --> 00:18:39.759 I think of Jurassic Park and I go, oh, that's a scary movie. 00:18:40.319 --> 00:18:40.799 You know? 00:18:41.039 --> 00:18:56.319 And uh, and I think it's part of like it's a theme park, and the the movie and the score is like a ride of emotions and genres and uh everything. 00:18:56.480 --> 00:19:02.799 It's like

you feel like at the end of this movie, you're like, wow, I feel like I just got off of a ride. 00:19:03.039 --> 00:19:05.599 It also it also helps balance things. 00:19:06.000 --> 00:19:06.240 Yeah. 00:19:06.720 --> 00:19:19.200 It helps provide that same balance of the the tension, the whore, the humor, yeah, the the the emotional resonance of the the family dynamics that are explored within it. 00:19:19.279 --> 00:19:23.440 Like it only comes together because the music is what it is. 00:19:23.680 --> 00:19:24.000 Right. 00:19:24.240 --> 00:19:24.799 Yeah. 00:19:25.039 --> 00:19:25.440 Yeah. 00:19:25.759 --> 00:19:27.839 That is John Williams in a nutshell. 00:19:28.640 --> 00:19:28.799 Yeah. 00:19:29.119 --> 00:19:35.200 Tell you what, uh, we're gonna take a few moments to fill our glasses and get ready to imbibe more after this. 00:19:37.839 --> 00:19:47.200 The Blue Whiskey Independent Film Festival exhibits short and feature-length motion pictures that utilize story elements in a new and exciting way. 00:19:47.839 --> 00:19:55.440 Our official selections are a carefully assembled blend of imaginative, sophisticated, and full-bodied stories. 00:19:55.680 --> 00:19:58.240 This is what our name represents. 00:19:58.720 --> 00:20:07.839 With audiences expect to experience character-driven independent cinema that is fueled by the filmmaker's passion for the art of visual storytelling. 00:20:08.160 --> 00:20:17.440 Filmmakers can expect an intimate festival experience where their personal story is valued as much as the one projected on the big screen. 00:20:28.559 --> 00:20:29.759 I am Jonathan C. 00:20:29.920 --> 00:20:34.559 Leggett, along uh with my uh co-host Trisha Leggett. 00:20:34.720 --> 00:20:37.200 Uh, and Michael Noens. 00:20:37.519 --> 00:20:40.880 And you're really gonna make this easy to edit, aren't you? 00:20:41.519 --> 00:20:42.160 Exactly. 00:20:43.200 --> 00:20:43.519 No. 00:20:44.799 --> 00:20:48.799 Uh and our special guest, Mike Schmack. 00:20:51.519 --> 00:20:54.640 And we're discussing Jurassic Park. 00:20:54.880 --> 00:21:03.200 Uh, enjoying this podcast, please uh subscribe or follow us on your favorite podcast providers to get new episodes as soon as we release them. 00:21:03.519 --> 00:21:08.079 Rate or leave us a review to help our show reach that larger audience. 00:21:08.240 --> 00:21:13.359 And you can also follow Imbibe Cinema on Facebook, Instagram, Threads, and Letterboxd. 00:21:13.519 --> 00:21:13.839 All right. 00:21:13.920 --> 00:21:19.279 I I know uh I can't remember if it was junior high or high school. 00:21:19.440 --> 00:21:20.319 I attempted. 00:21:20.559 --> 00:21:24.079 I attempted to read uh Jurassic Park. 00:21:24.400 --> 00:21:26.799 That was a long pause, and we all thought you were just tempting to read. 00:21:27.039 --> 00:21:28.000 I attempted to read, period. 00:21:28.160 --> 00:21:28.640 End quote. 00:21:28.720 --> 00:21:30.960 That was the and I realized I could not do it. 00:21:31.119 --> 00:21:46.960 Uh no, I attempted to read this book, and it was so so in the weeds with the the technology and the biochemistry and the science that I I just I I could not finish. 00:21:47.200 --> 00:21:50.559 Uh, but you said that this was something you read when you were 10? 00:21:50.799 --> 00:21:53.119 Yeah, uh, I believe it was 10. 00:21:53.359 --> 00:21:55.839 Basically, my parents handed it to me. 00:21:55.920 --> 00:21:59.759 I knew the movie was coming out, I was feeling excited, and uh I was excited. 00:22:00.319 --> 00:22:03.119 A uh a voracious reader at the time. 00:22:03.359 --> 00:22:03.680 Okay. 00:22:03.920 --> 00:22:11.359 And so they handed me the book and just said this should be a little more of a challenge for you than some of the stuff you've been reading. 00:22:11.599 --> 00:22:11.839 Yeah. 00:22:12.079 --> 00:22:13.680 My mom had actually already read it. 00:22:13.920 --> 00:22:14.319 Oh, okay. 00:22:14.559 --> 00:22:17.359 I think in part to make sure she felt okay enough giving it to me. 00:22:17.680 --> 00:22:18.160 Smart mom. 00:22:18.559 --> 00:22:26.079 And so a week before the movie came out, she handed me the book and I spent three days straight reading it. 00:22:26.400 --> 00:22:26.880 Oh my god. 00:22:27.200 --> 00:22:27.519 Whoa. 00:22:28.000 --> 00:22:34.559 I literally paced around the back deck in Medina, Illinois, flipping through pages during that summer. 00:22:34.640 --> 00:22:37.759 Like it was all I did other than sleep a little. 00:22:38.000 --> 00:22:40.960 It was my first like full adult novel. 00:22:41.200 --> 00:22:41.440 Okay. 00:22:41.839 --> 00:22:47.119 And it was, as you said, very you know, he tried to dive into the science as part of it. 00:22:47.359 --> 00:22:47.680 Yes. 00:22:47.920 --> 00:22:49.759 And I was a big nerd, so it was great. 00:22:50.000 --> 00:22:50.240 Okay. 00:22:50.480 --> 00:22:51.680 Did I understand all of it? 00:22:51.920 --> 00:22:52.079 No. 00:22:52.400 --> 00:22:53.359 No, but you didn't have to. 00:22:53.759 --> 00:22:58.799 So the suspense that holds up even with all of the science in the book. 00:22:59.119 --> 00:22:59.839 Oh, absolutely. 00:23:00.079 --> 00:23:04.079 Uh the the science is in separate little areas, then, yeah. 00:23:04.480 --> 00:23:14.480 It's it's it's not like and the door burst open and I watched as its claw came out in this direction that meant like it didn't get into the science of it in those moments. 00:23:14.799 --> 00:23:20.880 It was a lot of like, especially early chapters, and it was like the chapter beginning would talk about the science of something, and then it would get a little bit more. 00:23:21.200 --> 00:23:22.079 It's like info dumps. 00:23:22.559 --> 00:23:25.680 But if it's done well, then it doesn't feel like that. 00:23:25.839 --> 00:23:29.279 But also it can get heavy when you when you do that in a book. 00:23:29.759 --> 00:23:32.000 Something wrong with the Earth's gravitational pull. 00:23:33.440 --> 00:23:39.519 It's

funny that though those things were part of the reason why he got into the story itself, like Michael Crichton. 00:23:39.599 --> 00:23:45.680 He he was really just worried about the idea of uh genetic engineering and the ethical questions about it. 00:23:45.839 --> 00:23:49.680 And so it's not just science that you're dealing with in the book. 00:23:50.319 --> 00:24:01.920 There's a lot more ethic, you know, and philosophical pieces to it as well that Spielberg mined and and took just enough to fit it in with all these other pieces. 00:24:02.240 --> 00:24:08.400 One of the things that you had mentioned was a lot of character, specifically Sir Um Richard. 00:24:08.720 --> 00:24:17.519 Sir Richard character that that in the book is is vastly different than the the character on on our screen. 00:24:17.759 --> 00:24:28.000 Um were there other major I I I know uh Jeff Goldblum's character has a a very vastly different ending in the book, but other major takeaways? 00:24:28.319 --> 00:24:45.920 I mean the other things that stick out to me still is there was a whole lot more of a the whole idea that all of them are females, so no one could mate, and how they get to actually having life finds a way. 00:24:46.079 --> 00:24:52.480 Uh that was a lot more detailed, and there were a lot more clues and and like pieces of that. 00:24:52.880 --> 00:24:53.200 Okay. 00:24:53.359 --> 00:24:58.559 They they literally found eggs in the wild and and all these other pieces like that. 00:24:58.720 --> 00:25:05.279 But the biggest thing that that always stuck out to me, and I think it's partially probably my age at that point, how much gorier it was. 00:25:06.000 --> 00:25:10.880 Oh meaning seeing it in the theater when Dennis dies, Mr. 00:25:10.960 --> 00:25:11.519 Nedry. 00:25:11.759 --> 00:25:16.880 I turned to my mom in the theater and went, Mom, that's not how it happened. 00:25:17.200 --> 00:25:29.039 Like in the book, it bites, and then he describes feeling a warm sensation and reaching down and holding his intestines in his hands as they tumbled out of his body. 00:25:29.359 --> 00:25:30.400 Oh, gross. 00:25:30.880 --> 00:25:43.759 And there were like details like that that for uh someone that was in waiting to go into fifth grade were amazing and sucked me in and just had me so geeked. 00:25:43.839 --> 00:25:51.039 And and and so while I understand it was you know a different tone for the movie, you know, I did miss that a little bit. 00:25:51.200 --> 00:25:59.519 I I I've heard that the other person that was in talks to uh direct it at that time, but didn't get to it first, was uh James Cameron. 00:26:00.160 --> 00:26:03.599 And he wanted to do a full-on like aliens style. 00:26:04.160 --> 00:26:05.039 Oh, Jesus. 00:26:05.680 --> 00:26:14.640 So it would have been like constant whore and and rated R, and I don't think in the end I would have liked it as much overall. 00:26:14.720 --> 00:26:18.240 I don't think it would have been bit as big, but it would have had that gore. 00:26:18.400 --> 00:26:21.759 And 10-year-old me is still a little disappointed about that. 00:26:22.079 --> 00:26:22.799 Yeah, yeah. 00:26:23.279 --> 00:26:27.599 In fact, I I feel like I mentioned that uh uh in in the in the act one. 00:26:28.000 --> 00:26:31.599 Um they do a great job of shielding it behind plans or right. 00:26:31.759 --> 00:26:33.039 It was very Hitchcockian. 00:26:33.119 --> 00:26:36.400 It was very like, we'll let you see enough that your imagination does the rest. 00:26:37.519 --> 00:26:48.240 So my question is, franchise-wise, does it get gory or because I didn't watch the subsequent movie because I was like, I'm good, this is enough for me, I don't need to see any more of it. 00:26:48.640 --> 00:26:54.000 It does get gorier, but it doesn't get it never gets crazy gory. 00:26:54.559 --> 00:26:54.799 Okay. 00:26:55.359 --> 00:26:59.519 Uh they're still trying to hit that PG 13 sweet spot. 00:26:59.759 --> 00:27:00.640 Yeah, they really are. 00:27:00.880 --> 00:27:05.279 There's only so many times they can say hold on to your butts uh before they get in trouble. 00:27:05.680 --> 00:27:09.119 With so much smoking, that man just like chain smoked. 00:27:09.359 --> 00:27:10.079 Uh anyway. 00:27:10.160 --> 00:27:12.079 Uh and in the end, it didn't kill him. 00:27:12.240 --> 00:27:14.000 No, it was not the thing that killed him. 00:27:14.160 --> 00:27:15.759 Um but uh all right. 00:27:15.839 --> 00:27:26.640 So so Michael, when it when it comes to the rest of the franchise, uh uh the the additional uh uh two Jurassic Parks, and we're now at three or four Jurassic Worlds. 00:27:26.960 --> 00:27:27.200 Four? 00:27:27.440 --> 00:27:28.640 Four, I'm pretty sure. 00:27:28.960 --> 00:27:29.279 Okay. 00:27:29.759 --> 00:27:37.359 What what has been your your hot take or or or uh uh thought on the the the rest of the franchise? 00:27:37.599 --> 00:27:43.440 Uh well I I don't think it's too much of a hot take that it continues to go downhill from from there. 00:27:43.920 --> 00:27:51.680 Uh I mean recently last year, Rebirth came out and and my fiance and I watched it here. 00:27:51.759 --> 00:27:53.680 And it was just so disappointing. 00:27:53.759 --> 00:27:56.079 We went back and watched Jurassic Park. 00:27:56.319 --> 00:27:56.960 Oh, sure. 00:27:57.279 --> 00:28:00.559 It was so much better in comparison immediately. 00:28:01.039 --> 00:28:01.680 So what is it? 00:28:01.759 --> 00:28:07.839 Is it the story that falls by the wayside in uh in favor of more visual effects? 00:28:08.079 --> 00:28:10.559 What what do you think the new ones are missing? 00:28:10.799 --> 00:28:22.000 Uh I mean, I think the first thing, and we've touched on it before, is using the dinosaurs sparingly, using them in the moments that they make the most impact. 00:28:22.240 --> 00:28:22.559 Yeah. 00:28:22.880 --> 00:28:23.359 Jaws. 00:28:23.680 --> 00:28:24.079 Yeah. 00:28:24.799 --> 00:28:26.480 Spielberg learned that lesson in Jaws.

00:28:26.559 --> 00:28:26.640 Yeah. 00:28:26.960 --> 00:28:28.720 Oh, I don't have to show it every moment. 00:28:28.960 --> 00:28:33.119 I have to show it in the right moments to continue to build the tension and suspense. 00:28:33.359 --> 00:28:33.920 Yes. 00:28:34.480 --> 00:28:45.200 And and there's too many moments in the more recent movies where they're just thinking about it as a cool dinosaur shot, and the emotional impact for the audience is lost. 00:28:45.519 --> 00:28:45.759 Yes. 00:28:45.920 --> 00:28:46.079 Yeah. 00:28:46.240 --> 00:28:54.799 Yeah, because they I mean, like, I I don't want to say we don't care about the characters, but I feel that that is one thing that this movie does such an amazing job. 00:28:55.119 --> 00:28:55.839 We have Dr. 00:28:56.000 --> 00:29:02.480 Grant, who is, you know, a paleontologist who's not good with kids, he's not good with computers, he's not a painful person. 00:29:03.039 --> 00:29:09.599 And yet at the same time, you watch him be so protective of these two kids. 00:29:09.839 --> 00:29:19.119 And like the lengths he will go to, including possibly one of my favorite lines, and I laughed when he went to go get Tim out of the car. 00:29:19.279 --> 00:29:21.920 I immediately started laughing, and Trisha's like, What are you laughing at? 00:29:22.160 --> 00:29:24.160 I'm like, one of my favorite lines is about to come up. 00:29:24.480 --> 00:29:31.920 And it's it's after they've gotten down to the bottom, and the the car falls back onto them, and he goes, and now we're back in the car. 00:29:32.240 --> 00:29:34.240 I was like, We're back in the car. 00:29:35.759 --> 00:29:36.240 Again, yeah. 00:29:36.319 --> 00:29:45.440 It's like it was just like one of the like they they do such a good job of of hitting those those moments in the right circumstance. 00:29:45.599 --> 00:29:50.480 It's not a cheesy thing, it's uh uh humor born out of being afraid. 00:29:50.799 --> 00:29:53.519 Yeah, out of the trauma sessions that they're in enduring. 00:29:53.599 --> 00:30:09.039 And and they do such a good job of of sparingly using the dinosaurs to drive the moments of uh those high anxiety moments, um you know, where the jello is shaking because they see the shadow of the dinosaur. 00:30:09.359 --> 00:30:13.359 Yeah, I I think I wanted to be Sam Neil for a little while as a kid. 00:30:13.599 --> 00:30:14.079 Well, Dr. 00:30:14.160 --> 00:30:14.559 Grant. 00:30:14.640 --> 00:30:15.519 Uh Paleon. 00:30:15.920 --> 00:30:16.480 Right, yeah, right. 00:30:16.799 --> 00:30:17.039 Yeah. 00:30:17.279 --> 00:30:19.599 Because he wasn't Sam Neil, he was Dr. 00:30:19.759 --> 00:30:20.160 Grant. 00:30:20.559 --> 00:30:20.720 Yeah. 00:30:20.960 --> 00:30:21.279 Yeah. 00:30:21.680 --> 00:30:24.640 Although even as Sam Neil, he was pretty fantastic. 00:30:24.960 --> 00:30:25.599 Yeah. 00:30:26.240 --> 00:30:41.440 But I, you know, touching on the character side of it, I feel like that's a little bit of the modern movie-making challenge of you know, too much studio influence, trying to reach too many markets, trying to like serve every audience. 00:30:41.599 --> 00:30:43.359 And then like, who is it really for in the end? 00:30:43.680 --> 00:30:43.759 Right. 00:30:43.839 --> 00:30:49.279 Well, it was it reminds me always when you have these franchises that go and you're like, why is this still a thing? 00:30:49.440 --> 00:30:50.960 It's not good anymore. 00:30:51.200 --> 00:30:56.720 It always reminds me of Last Action Hero, where it's like, can't die, not until the grosses go down. 00:30:57.039 --> 00:30:57.519 Yeah. 00:30:58.160 --> 00:31:07.599 Now, to that end, and and something I feel that we're we're seeing more of, uh, A24 is a perfect example of this. 00:31:07.759 --> 00:31:22.799 They're starting to go off the beaten path and and and venture into the the realm of what we would lovingly call like independent films and like the risks that independent films can and do take. 00:31:23.119 --> 00:31:26.240 Do you see that uh out from the LA side of this? 00:31:26.640 --> 00:31:33.200 I think they're finding bigger audiences and making more money because they're taking interesting swings. 00:31:33.759 --> 00:31:37.039 Uh and and that might draw some attention. 00:31:37.279 --> 00:31:51.759 Uh at the same time, the studios have their rhythm, have their vested interests, KPIs, their key performance indicators that are how they are approaching the business of movie making as opposed to being a creative. 00:31:51.920 --> 00:31:55.440 It might shift them a little, but oftentimes they learn the wrong lesson. 00:31:55.680 --> 00:31:55.839 Yes. 00:31:57.519 --> 00:32:03.839 I love the shivers that both Jurassic Park had given me and then you saying KPIs out loud. 00:32:05.279 --> 00:32:09.920 I feel like across all industries, KPIs give people shivers. 00:32:10.480 --> 00:32:11.279 Oh no. 00:32:12.640 --> 00:32:15.039 You've got to be careful with those KPIs. 00:32:15.119 --> 00:32:16.720 They they they hunt in packs. 00:32:17.039 --> 00:32:18.319 Yeah, they really do. 00:32:19.359 --> 00:32:20.880 They're a clever girl. 00:32:22.640 --> 00:32:24.000 Clever girl. 00:32:24.480 --> 00:32:25.519 Oh God. 00:32:26.240 --> 00:32:32.799 I I know that, Trish, you had wanted to discuss my comments uh continuously during during the film. 00:32:33.440 --> 00:32:34.480 Like let's start with the goat. 00:32:34.720 --> 00:32:35.279 Yeah, the goat. 00:32:36.240 --> 00:32:37.279 Not the greatest of all time. 00:32:37.440 --> 00:32:38.640 Just the literal goat. 00:32:39.119 --> 00:32:39.599 Well played. 00:32:39.759 --> 00:32:48.720 Uh so no, the the uh there were a number of continuity things that that have irked me uh I think since the first time I watched uh uh this particular. 00:32:49.200 --> 00:32:51.920 See, and I was gonna say, is it because you've seen it so many times? 00:32:52.160 --> 00:33:00.799 Because that's usually for me, where I go, oh hey, on the fifth time watching it,

I'm like, they weren't even holding that thing in the other shop. 00:33:01.039 --> 00:33:01.119 Yeah. 00:33:01.200 --> 00:33:02.960 No, this one I think is-in raining. 00:33:04.160 --> 00:33:08.079 Yeah, this one I think even irked me when I was uh 11 or 12 years old. 00:33:08.400 --> 00:33:14.960 Okay this particular one, when they're uh uh, you know, at the Tyrannosaurus Rex enclosure. 00:33:15.200 --> 00:33:15.440 Sure. 00:33:15.519 --> 00:33:17.920 Okay, they bring a goat up. 00:33:18.640 --> 00:33:27.279 Okay, and then the goat is on what looks like, from every perspective that we can see, level ground. 00:33:28.480 --> 00:33:28.799 Okay. 00:33:29.200 --> 00:33:29.519 Okay. 00:33:30.000 --> 00:33:50.000 And the expectation is is that these, you know, the the the they're don't worry, you know, there's 10,000 volts here, the dinosaurs aren't gonna break through this whole thing, but like they're trying to entice the tyrannosaurus rex to come towards the driving path so that everybody can see the tyrannosaurus rex. 00:33:50.160 --> 00:33:53.119 And it's right here at level ground. 00:33:53.440 --> 00:33:53.759 Okay. 00:33:54.160 --> 00:33:54.480 Okay. 00:33:55.039 --> 00:34:10.480 Then the tyrannosaurus rex at level ground eats the goat, breaks through the fence because the electricity is off, fucks with these cars, and then throws them off a cliff into its enclosure. 00:34:10.880 --> 00:34:12.239 And you're like, where did that cliff go? 00:34:12.639 --> 00:34:21.360 Where the fuck did the 10,000 foot drop and this tree that is so tall? 00:34:23.039 --> 00:34:26.400 How did the T-Rex was the T-Rex on stilts? 00:34:26.559 --> 00:34:29.920 Why do you sound like Madeline Khan and why am I suddenly Madeline Khan? 00:34:30.320 --> 00:34:30.639 Like flame. 00:34:32.960 --> 00:34:37.840 No, but it's like one of those things that like I've just I like I understand you need this tree moment. 00:34:38.000 --> 00:34:40.559 All right, for the tree moment, they have to have fallen from the gate height. 00:34:40.800 --> 00:34:41.199 Right, right, right. 00:34:41.360 --> 00:34:44.000 And the tr the the car couldn't have gone all the way. 00:34:44.159 --> 00:34:48.400 But again, how was the goat at level height? 00:34:48.559 --> 00:34:48.719 Yeah. 00:34:49.199 --> 00:34:50.559 I have never noticed this problem. 00:34:50.880 --> 00:34:51.840 You've never noticed that problem? 00:34:52.239 --> 00:34:55.920 No, no, and it's one of those things John will do and he'll ruin movies this way. 00:34:56.239 --> 00:34:58.480 This is how I ruin movies with continuity. 00:34:58.800 --> 00:35:00.639 So, Mike, you you've noticed this too? 00:35:00.880 --> 00:35:03.119 Yeah, I know what he's talking about. 00:35:03.440 --> 00:35:09.519 And I I I I can't give a clear definitive answer on if it makes sense or not. 00:35:09.679 --> 00:35:12.880 The goat is definitely not that's not the ground down there. 00:35:13.360 --> 00:35:22.239 I can I can bullshit an answer of part way through that fence is where the cliff starts, and it's just that side's the flat up top, and then that's not the same. 00:35:22.480 --> 00:35:27.599 T-Rex has thankfully never fallen to its own death by tripping while getting goat. 00:35:27.920 --> 00:35:35.840 Well, you you'd think that'd be a problem since they mistakenly said that T-Rexes only see based on motion. 00:35:36.159 --> 00:35:38.960 So how would it ever see that the ground was gone? 00:35:39.360 --> 00:35:39.599 Yeah. 00:35:43.360 --> 00:35:44.800 The ground didn't move. 00:35:48.239 --> 00:35:57.360 On the continuity front, I was impressed by how relatively consistent the ash on the cigarette of Samuel L. 00:35:57.519 --> 00:35:58.800 Jackson's character was. 00:35:59.199 --> 00:35:59.519 Yeah. 00:35:59.840 --> 00:36:01.679 It got so long. 00:36:02.159 --> 00:36:02.639 Oh, yeah. 00:36:02.960 --> 00:36:06.000 It just and I never went, oh, it jumped. 00:36:06.559 --> 00:36:06.960 Right? 00:36:07.199 --> 00:36:14.320 And the fact that he has the cigarette hanging out of his mouth all this time, and then he's like, Dennis' station is such a disgusting mess. 00:36:14.480 --> 00:36:15.679 And you're like, wait, what? 00:36:15.840 --> 00:36:16.159 Yeah. 00:36:18.400 --> 00:36:18.480 Pot. 00:36:19.039 --> 00:36:24.400 It is also just a little weird to see people smoking at their desk. 00:36:24.639 --> 00:36:24.880 Yeah. 00:36:25.199 --> 00:36:28.400 Other things that that still kind of pop. 00:36:29.119 --> 00:36:34.320 Uh the animation is still great for the Dino DNA section. 00:36:34.559 --> 00:36:42.400 Like that whole little like three-minute info dump that I was totally into as a kid and didn't understand was an info dump. 00:36:42.639 --> 00:36:48.960 Like, they did a great job of that that was like just perfect and gave just enough. 00:36:49.599 --> 00:36:51.679 Is it the the bill on Capitol Hill? 00:36:51.840 --> 00:36:52.480 That cartoon. 00:36:52.880 --> 00:36:53.199 Yes. 00:36:53.440 --> 00:36:54.719 The DNA cartoon made me. 00:36:55.280 --> 00:36:55.679 Schoolhouse rock. 00:36:55.920 --> 00:36:56.320 School faces. 00:36:56.719 --> 00:36:58.000 It was like schoolhouse, yeah. 00:36:58.159 --> 00:36:59.920 Schoolhouse rock meets like Mr. 00:37:00.079 --> 00:37:01.039 Clippy. 00:37:01.920 --> 00:37:04.400 Clippy! Oh, Jesus. 00:37:04.800 --> 00:37:05.119 Oh. 00:37:05.840 --> 00:37:09.280 It's kind of where we went from massive, aggressive little paper clip. 00:37:09.760 --> 00:37:19.599 I'm also just blown away how much they used what they could that really happen, that you don't get as much anymore in in modern movies. 00:37:20.000 --> 00:37:28.480 Beyond beyond the the animatronics and the physicality of those things that that makes it easier for an actor to actually perform. 00:37:28.639 --> 00:37:28.800 Yeah. 00:37:29.039 --> 00:37:47.280 There's stuff as simple as the a lot of the storm footage that they shot because an actual major typhoon came through Hawaii while they were

filming and and knocked out a bunch of uh roads and and and like caused damage to set and all this. 00:37:47.440 --> 00:37:53.199 And there's actually, from what I understand, a story where a bunch of the crew actually was stranded after it. 00:37:53.360 --> 00:38:04.800 And the guy that played the plane captain at the very beginning of Raiders of the Lost Ark actually helped a bunch of the crew escape Hawaii. 00:38:05.199 --> 00:38:05.599 Yeah. 00:38:05.840 --> 00:38:07.280 Like one of those random details. 00:38:07.440 --> 00:38:13.679 But but knowing all that, watching it again, I'm I'm just going, well, that explains why the storm looks so good. 00:38:13.920 --> 00:38:15.679 It's a real fucking storm. 00:38:16.159 --> 00:38:26.320 And it is really pounding that like the whole crew had to like take shelter in their hotels, and and like they they still shot a bunch of footage of it. 00:38:26.559 --> 00:38:27.199 Wow. 00:38:27.599 --> 00:38:30.400 You're taking advantage of what life actually brings. 00:38:30.639 --> 00:38:30.800 Yeah. 00:38:31.039 --> 00:38:31.280 Yeah. 00:38:31.440 --> 00:38:32.719 The magic of filmmaking. 00:38:33.280 --> 00:38:41.199 If if if you know that the script is calling for it and you've got the camera on hand because you were stranded with the damn thing, might as well get some footage. 00:38:41.519 --> 00:38:42.239 Exactly. 00:38:42.559 --> 00:38:43.039 Wow. 00:38:43.280 --> 00:38:46.000 Yeah, we haven't hit it, and I don't know how you don't. 00:38:46.639 --> 00:38:48.719 The the the water cup. 00:38:49.119 --> 00:38:49.440 Yes. 00:38:49.599 --> 00:38:49.679 Yeah. 00:38:50.000 --> 00:38:54.800 The water cup and just the little ripple shot. 00:38:55.199 --> 00:38:55.840 Impact tremor. 00:38:56.159 --> 00:39:03.760 It was a brilliant idea, and from what I've heard, trying to actually accomplish it was really difficult for the practical effects team. 00:39:04.000 --> 00:39:16.079 They finally figured out to run a string from the bottom of the cup through the car and then have someone vibrate the string at a at a frequency would make it happen. 00:39:16.400 --> 00:39:16.880 Oh wow. 00:39:17.199 --> 00:39:24.239 If they were just trying to like shake the car, they were trying to like, you know, blast it with bass, and it just wasn't working. 00:39:24.320 --> 00:39:25.039 It wasn't looking right. 00:39:25.199 --> 00:39:26.159 It just slosh around. 00:39:26.480 --> 00:39:26.639 Right. 00:39:26.719 --> 00:39:28.159 It had to be very controlled. 00:39:28.320 --> 00:39:28.880 Yes. 00:39:29.280 --> 00:39:37.360 I mean, that's one of those other moments that you just you think of the movie and you just picture that single like ripple repeating. 00:39:38.000 --> 00:39:42.400 It's something I feel like doesn't get done very often these days in movies. 00:39:42.639 --> 00:39:42.800 No. 00:39:43.039 --> 00:39:54.639 And it makes me miss finding those little things that explain and and are symbolic of a larger threat of a bigger character. 00:39:54.800 --> 00:39:59.679 Like there was more symbolism in that movie than I think I realized as a kid. 00:40:00.079 --> 00:40:01.199 You hit on it with AI. 00:40:01.280 --> 00:40:13.840 I think at that point part of that language actually came from uh Phil Tippett calling himself extinct after seeing the CGI dinosaur and saying that his stop motion was extinct. 00:40:14.159 --> 00:40:17.840 There are films that need to be conveyed through Stop. 00:40:18.320 --> 00:40:19.679 Marcel the Shell, isn't that? 00:40:20.000 --> 00:40:22.239 Yeah, Marcel the Shell was the perfect example. 00:40:22.639 --> 00:40:26.239 It's a very unique uh type of storytelling. 00:40:26.559 --> 00:40:26.880 Yeah. 00:40:27.119 --> 00:40:27.360 All right. 00:40:27.519 --> 00:40:31.840 Michael Schmeck, what can our listeners look forward to? 00:40:32.159 --> 00:40:36.880 Besides talking with you lovely people and occasionally helping out with blue whiskey. 00:40:37.039 --> 00:40:44.719 Uh I uh am the director of a visual effects and animation studio called Exceptional Minds. 00:40:44.880 --> 00:40:52.480 We're a nonprofit uh academy and studio that trains artists on the autism spectrum to develop their careers in animation and visual effects. 00:40:52.800 --> 00:40:53.119 Nice. 00:40:53.280 --> 00:40:55.360 Uh so I'm in charge of the studio. 00:40:55.519 --> 00:40:59.360 We do real work on real projects, so you can see some of those projects. 00:40:59.519 --> 00:41:08.400 I'd say that on the VFX side, you can always see my name and my team's name in the end credits for every Marvel project. 00:41:08.639 --> 00:41:12.800 We do the end cards, end crawls, all of that for everything Marvel does. 00:41:12.960 --> 00:41:20.719 You can see my team's work on things past to future, including Twisters, including Gladiator 2. 00:41:20.960 --> 00:41:24.159 We just finished up uh Outer Banks season five. 00:41:24.320 --> 00:41:26.400 We did the last season at Bridgerton. 00:41:26.559 --> 00:41:28.480 I hope we'll get to work on the next one. 00:41:28.719 --> 00:41:39.039 And then on the animation side, there's a really cool project that I can't call uh really talk about, but we did 10 seconds of animation for a major motion picture that will come out next spring. 00:41:39.199 --> 00:41:43.360 It'll be really awesome to see it out there once I can actually talk about it. 00:41:43.599 --> 00:41:49.280 But beyond that, we have our own IP work that you can see on our YouTube channel, Exceptional Minds. 00:41:49.519 --> 00:41:57.760 We're just about to release one called Bigfoot Burger, uh, which was a really fun project that one of our uh graduate artists pitched. 00:41:58.079 --> 00:41:59.519 Proud of the work they do. 00:41:59.679 --> 00:42:04.960 None of this visit is in any way sponsored or representative of Exceptional Minds. 00:42:05.199 --> 00:42:10.000 Uh I cannot say that enough, but they but I uh love the work I get to do. 00:42:10.320 --> 00:42:13.840 Well, that's wonderful and absolutely fantastic. 00:42:14.079 --> 00:42:21.920 Uh we greatly appreciate all of our listeners for choosing this podcast, supporting Independent Films, the Blue Is King Independent Film Festival. 00:42:22.079 --> 00:42:22.960 I'm Jonathan C. 00:42:23.199 --> 00:42:26.239 Leggett, and thanks for in piping with us. 00:42:26.559 --> 00:42:27.199 Cheers.