fix it tony wanted to know uh that he read that the production studio left the car to rust away
until fans reported it and put it on display is it common for production studios to abandon their
props and let them wither away well you're editorializing a little bit in your question
there are two i'm going to say two things uh one is that the academy and american film in general
has rarely valued its legacy to the degree that i think film lovers the world over believes
that they ought um that's a fact so yes uh it is common for production studios to abandon
their props and let them wither away uh film history is replete with stories about this
and it's a problem right when debbie reynolds wanted to sell her costumes to the academy
and they didn't buy them that's why so many of them went out of the country and that's
crazy that's crazy she had an unbelievable collection we should be displaying it here
but i also want you to understand this from a film producer's standpoint and realize that a big film
any film really is a company that gets formed for the purpose of making that movie and the
producer you know there's a million producers but there is one one person whose job it is
to build that company make the film with that company and then the moment that film is done
they want to dismantle that company they don't want it around anymore they don't
need it they don't want carried costs forward so they don't want to pay for some storage space
for some undefined amount of time into the future they would like to wrap this thing up and move on
so i i understand that from a financial standpoint if you're if you're you know
you've been given a certain amount of money from the studio to spend that money to make a movie
uh a storage space can cost you like the smallest store spaces cost you
can cost you ten thousand dollars a year right like nobody no producer is going to
want that line item on their books so i understand from a producer's standpoint
why things tend to let get withered away
and it's thorny if you know you you'd say to yourself why don't you reach out to the fans right
but which fans who you're gonna piss off somebody by reaching out to somebody all this stuff needs a
structure which is why actually it's ultimately great that the academy is finally opening up
a a museum the academy of emotion picture arts and sciences is opening a museum to showcase and
celebrate its legacy so hopefully that combined with the fact that prop collecting has become a
giant industry in the past 20 years uh very much more so even in the last 10 than the previous 10
means that perhaps there will be less of that denigration
okay i'm gonna yeah what are your thoughts tim mitchell wants to know what my thoughts
are about the all-female reboot of ghostbusters do you believe the criticism
towards the movie artistically were warranted really was the criticism artistic
i have a problem with a lot of the criticism of that film
because a lot of it's misogynistic i am not a fan of that film but not because it stars women or
because of the women that are in it the four women that that are in that movie are amazing and
they are the best part of that movie they are what kate mckinnon is doing in the background of scenes
she's not even saying lines in is some of the funniest stuff i've ever seen and everyone brings
their a game everybody they're all incredible but i don't think the film is as good as the ladies
that are in it that being said if i was talking to the director right now i i certainly would
say that i certainly would say that i think that the film doesn't give them enough of a platform
to be as smart and brilliant and funny as they actually are and i think the film is a little bit
light for my taste i think the thing that i love so much about the original ghostbusters is that
it is light but it's also scary and you feel the stakes at surprising times in the movie that's a
really hard mix to get right and i i didn't think that the that the all female reboot got that right
but it wasn't because of the women at all my god i watch that movie again just to see what they do
um i just think the the script could have provided them a better uh a better platform
to showcase their incredible talent how about that i once uh i i yeah i once met kristen wiig at a
at a fundraising dinner just like 12 or 13 years ago now um but i do believe that i i might have
elbowed padma lakshmi out of the way to tell kristen wiig that i thought she was a genius i did
not elbow anybody i just two amazing women were talking to each other and i was only interested
in dug into one of them uh and by the way pogba is a delightful human being i spent a day with her
a few years ago as part of an emmy thing for the la times just absolutely wonderful human being um
william van kolenberg says how would you go about creating the effects to make the michelin
marshmallow man explode on screen uh oh difficulty with the 80s range of fx possibilities um
it's so you're mistaking me for an effects director that is not my training and
while uh i have a knowledge base that's adjacent to the knowledge base of an effects director
um figuring out how you'd actually break down a shot like that is is
is really really difficult and i would not pretend or presume to know just how difficult
um that being said i do have some things to offer on the matter but the thing is is that
you you phrase the question as if you think it's a single effect but in the end result
it could be five different effects what you really have to do to talk about how
the marshmallow man would explode on screen is break down the action of him exploding
into a set of super discreet super planned out shots that you want to see and then you
have to figure out how to achieve each of those i it's possible and i just watched the film a
few weeks ago but i wasn't taking note of this it's possible that there's not even necessarily
a specific shot in which you see him completely explode that they imply that um because of the
storytelling you've got to do you've got to see him you've got to see him explode you've got to
utilize or engineer an explosion that feels correct for the scale that he is that's a whole
set of of things to choose you'd be talking to your pyro guys and you'd say i want a fireball
this big next to these miniatures and they're like okay well if you want a fireball this big
that's gonna be too scary you're gonna have to build those miniatures in this scale then there
are the shots of like the chunks of marshmallow landing on the street then there are the shots
of the chunks of marshmallow hitting people those might be totally different substances then there's
shots of the marshmallow like flowing in the street that might be a totally different process
it's actually it's so a later question someone says uh uh is it hard for me to not watch a
movie like this and be thinking about how they did it and it's not hard if the plot is good if
the writing's good and the people in it are good i have no problem with a suspension of disbelief
um and i would submit that it's actually really interesting to go back to a sequence like that and
watch it frame by frame and note how they told the story because a lot of times it literally could be
that there's like fireball and then someone gets marshmallow on their face and some white stuff
hits a wall and you feel like you watched the stay puft marshmallow man blow up uh case in point uh
i was thinking of replicating at some point and i still might the specific scene from a tarantino
film and so i watched the scene and actually storyboarded it based on how it was shot and
cut and it like it was funny how how quotidian the directing was in this in this sequence because you
think of tarantino as like you think that you you have this impression of lots of film reference but
the reality is usually much more much more straightforward than like every shot is totally
amazing that's a lot of films that are known for their beautiful cinematography it's not
the majority of shots that are amazing it's these key key frames really um that is how an effects
director would start to work with a director in figuring out how to they would ask the director
very very specific questions about what their vision of telling the story and then
because the effects director has with them a set of institutional knowledge of not only
the processes at their disposal but the physics involved they would collaborate with the director
to help them tell this so the director might go uh well famously the original plan for the american
werewolf and london transformation was that it was all one shot but for various reasons they decided
to break it up into separate shots and i think it's a way stronger sequence the way that they
filmed it but they could have filmed it in one in one piece rick baker actually worked that out
thank you so much for watching that video if you'd like to further support us on tested there
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or you can go to our merch store where we are always coming up with brand new products in
honor of the holidays we've got our tested ugly sweater in both black and we have a white one
we have some brand new patches and this is a particular type that i made a joke about
one day and now it's a reality you know merit badges when you're a cub scout or a boy scout
you get a merit badge for achieving something well tested now has demerit badges for when
you screw something up because that's just as important in learning as getting something right
so this is the badge for when you measure something once and have to cut it twice
this is the badge for when you accidentally hook up your electronics wrong and you release the
mysterious blue smoke that powers them and they no longer work and this one here is for when you
get your finger caught in the lathe then it almost gets torn off that might be quite me
specific i hope that never happens to you these are all designed by tested's own gen schachter and
they are not the only patches we're going to release in fact these are just the beginning if
you have ideas for demerit badges that we should release we'd love to hear them we also still have
our regular compliment of posters and they're all back in stock including my hand-drawn tool boxes
i love seeing pictures you guys send us of these hanging in your maker spaces and your offices your
man caves and your sheds around the world get to the store follow the links below and hey some of
these might make great christmas presents for the makers in your life thanks you guys happy holidays