[roars]
MIKE WOLFE: What's this?
I had a box I went through, and I said,
Gene, I'm going to toss this.
He pulled that out and says, you don't want to toss this.
- "Terminator"-- - "2."
MIKE WOLFE: "Judgment Day." - Wow.
Original script.
MIKE WOLFE: Huge movie, blockbuster.
It says, "Gene Warren, Leslie Huntley,
Fantasy II Film Effects."
Gene Warren's our father.
MIKE WOLFE: "Dear Gene and Leslie, per your conversation
with Jim, I am sending a script."
Pretty personalized script.
Oh, yeah.
Our father did the stop motion puppets for "The Terminator."
MIKE WOLFE: These guys were doing the visual effects
in that-- crazy!
Any time you saw it walking full body, toe to head,
stop motion puppet.
Two different scales, because "T1" was sixth scale.
And then when we did "T2," Jim goes, big difference--
you got more money.
Make bigger miniatures.
So is that something you'd sell?
Yeah.
MIKE WOLFE: This is an original script that
is personalized to his father.
I mean, what would you have to have for that?
The bigger the picture, the bigger the price.
There's "T2" pieces that sold for a quarter
of a million dollars.
MIKE WOLFE: Really?
Yeah, so $300 to $500?
Probably worth maybe double that on an auction or something.
MIKE WOLFE: To the right auction, yeah.
Yeah.
MIKE WOLFE: It's so hard to find an original script,
next to impossible.
But here is one that's personalized.
So there's two stories colliding there.
This is an incredible piece.
Three to five-- 400?
400 it is.
All right.
Deal to both of you.
- Thank you, buddy. - Great, $400.
Take that out, Robbie.
Right on.
This was our father's house.
My brother and I now have it.
What year was the house built?
1926.
Wow!
Really?
Wow.
Welcome to our home.
Gene, Gene, Gene, we've been selling stuff up there.
What you doing?
Hey, hey!
Hey, what's going on?
Hey, I'm Mike.
- Mike, nice to meet you. - Nice to meet you.
Hi. - I'm Gene.
This is my brother, Robbie.
Hi, Robbie.
Good to meet you.
We both, I think, ended up working with our father
because we needed a job out of high school.
It's not like we were growing up saying, oh,
we want to be visual--
Well, not necessarily me.
I took three years before I joined the business, knowing
I wanted to get into it.
But this business, you sell your soul.
And I wasn't ready to sell my soul yet.
Which I did jump right into it.
And three years later, I quit for a decade
because I realized I hadn't had my fun yet.
So I went out and had my fun for 10 years,
and then got back into it.
I saw it coming.
I said, no way, Dad.
I'm not doing this [bleep].
But growing up in the business and being a part of it
and being around it, I knew this was what I wanted to do.
Pillsbury Doughboy stuff.
This is replacement animation heads.
These have all of the vowels and the consonants.
For him to talk, you didn't try to animate the mouth.
You made 16, 20 heads with different mouth shapes.
And so you just replaced the head
to get him to say something.
When he needed to make, like, "me," you started with an M.
- Oh-- - And you took the head off.
Oh, wow.
Then you put the E part on--
No kidding, with every little--
Every little sound, yeah.
You had to change the head out.
Replacement animation.
Wow.
These are the heads that allowed the Pillsbury
Doughboy to speak.
This is a series of, you know--
MIKE WOLFE: So how many heads are in here?
12, 16, something like that.
It's missing two from the collection.
Don't know where those went?
No, I do.
When I was younger, I was in love
and gave a Doughboy to a girlfriend.
[laughter]
MIKE WOLFE: The Pillsbury Doughboy
has been around for so long, he's really a part
of the American landscape.
And what I mean by that is just, like, pop culture.
Everyone knows the Pillsbury Doughboy.
Here's where he's laughing.
And we also have these Doughboy things.
What are those?
We occasionally got to poke the Doughboy.
MIKE WOLFE: Yeah?
You had to move that slowly?
That's fast.
[laughter]
And so because this typically looked like it was a rubber
hand, they decided, OK, we're just
going to do it with our kids and get real skin.
MIKE WOLFE: Were you the one?
Was it your finger?
Both of us.
My first job in the industry was poking the Pillsbury
Doughboy at nine years old.
And they set us up on something like this,
and we had to go one frame at a time.
They'd take a picture, they'd change the head,
they'd animate the body, we'd have to move another.
So about 45 minutes it took us to go all the way in.
MIKE WOLFE: What noise did he make?
Hoo-hoo!
[laughter]
MIKE WOLFE: The reason I'm drawn to all of these heads
is because they're connected to each other.
They're a variation on a theme.
Let me see how these would even display.
So there's 16 heads and one body.
There's almost a complete set here.
Now, there's one missing due to the casualty of love.
But other than that, I mean, it's all together.
There's a lot of collectors out there that collect advertising.
But this kind of takes it to the next level.
I mean, you have so many in a box,
and they're all different faces.
Then it becomes an art installation.
What's the difference between this and Warhol's Campbell's
Soup can, you know, over and over
again-- repetition, art, handmade,
pop culture, all of that?
This is the Pillsbury Doughboy's head
over and over again with different movements
of his mouth.
The way they're displayed right now, it's already art.
What are you guys thinking on this?
2,500?
[music playing]
I know each individually, it could be lotted out
for a lot more money than that.
But it's important for us that it stays--
It has to stay together.
--that it has to stay together.
Yeah.
And the condition--
he's got a little bit of a pug nose.
There's a little bit of dent on his cheek.
22.
2,250?
All right.
[mock groan] All right.
[mock grumbling]
We love it.
I mean, I never thought I'd get that
excited about the Pillsbury Doughboy, but they're handmade,
they're iconic.
The way they're displayed transcends the commercial.