The gang at The Produce Stand are joined by Billy Buttery, Director of Photography on Letterkenny and Shoresy.
Chapters:
- 00:00:00 – Opening
- 00:00:51 – Introduction
- 00:05:25 – Part 1 – Shoresy
- 00:13:53 – Part 2 – Listener Questions
- 01:08:22 – Final Comments
- 01:10:26 – Outro
Links:
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Got a super special guest tonight.
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He’s the master of shadow and light.
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Billy Buttrey’s returned.
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And we all get to learn how he made Shorzy look out of sight.
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That fresh produce stand there.
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That’s a beauty.
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What do you listen to?
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My favorite murder podcast.
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Taggart and Doran’s podcast.
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The produce stand.
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Ah, fucking sexy.
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It’s Thirsty Thursday.
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And that means we are once again hanging out the protostand.
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Podcast paying tribute to everything in the universe.
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Now, I know what you’re thinking.
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There are many other podcasts about Kenny out there, but this one is the only one
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Billy Buttrey listens to.
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And that’s in his own words.
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I’m Al, your host.
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And joining me in the room, as always, is a lovely Tanya and online
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we have Squirrely Matt, the vagabond Victor and joining us tonight.
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He is a veteran of the Canadian film and television production.
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He’s worked on notable films such as The Gate, National
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Lampoon, Senior Trip and Jigsaw.
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But his television work is even more impressive with shows like Forever
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Night, Relic Hunter, Slings and Arrows, The Kink in My Hair,
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The Listener and Cracked.
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But of course, we all know him as a director of photography
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on both Letterkenny and Shorzy.
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Please join me in making some noise for Billy Buttrey.
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Welcome back to the protostand, Billy.
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Welcome. Thank you.
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Amazing. Thank you so much for coming back on.
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Hey, no problem.
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I mean, you said you would once Shorzy was all said and done.
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So you’re true to your word.
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And I mean, speaking of Shorzy,
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well, you just came back from Sudbury after shooting season 12 of Letterkenny.
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So welcome back.
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Thank you. I hear you went to Sudbury.
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Yeah, we just missed you by a day.
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You apparently are timing was terrible.
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Although you would have been too busy anyways
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to look up from what you were doing to notice us.
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Either that or he or he would have been don’t sit there.
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Don’t touch that. What are you doing?
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You wouldn’t have gotten that close to me.
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No, no. Your entourage would have stopped us, would they?
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Oh, no, there was a whole COVID thing.
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They would have they would have stopped you with COVID, you know.
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Oh, that makes sense.
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We’re protective of that. Sure.
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We probably would have been able to record in the kitchen.
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No, no, no. Oh, my God.
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Yeah. You got shit for being just being in that studio without a mask one day.
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It was like, oh, OK, OK, OK, OK.
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So even this past September, they were that strict, eh?
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If you were on the set, yes, you were expected to wear a KN95 mask.
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Period. In interiors, not exteriors, which is a change.
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Sure. OK.
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I mean, yeah, you don’t you want you don’t want to jeopardize
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the whole shoot because somebody, you know, messed up, right?
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No, we were tested three times a week. We were in Toronto.
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Still, eh? Still doing that, eh?
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Still doing that.
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Still swab up the nose three times a week.
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Oh, my God.
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I don’t think we felt any remnants of that at all when we were
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just in Sudbury in general and and and even on this on these sets.
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Like there was no we didn’t even see a mask lying around anywhere,
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which was pretty impressive.
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Oh, I did see one on the on the ground in the in the arena.
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But yeah, you’re right.
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I mean, well, there’s nobody there.
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The only people who were there greeting us were Kara and Craig.
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So, yeah, there you go.
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Do you where were you off to next?
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Do you know what your next job is?
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No, no, I’m just going with the flow here.
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Yeah. Yeah.
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Happy to be out of Sudbury before winter hits.
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I barely got out of Sudbury for a winter hit.
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Yeah. Yeah. Apparently, Michelle posted some video of snow
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that hit there like a week later or whatever.
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Oh, I’m sure. Yeah.
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I was up there last December for when we shot Shorsie into season one
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and it was a November and it was like snow serious.
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All right.
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So we can’t ask you the obvious question because you won’t know.
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Or if you do know, you can’t answer.
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But we’re all waiting on pins and needles for the announcement
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of season two of Shorsie. It’s got to be coming, right?
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It’s got to be coming.
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I got it. I got a fade down on that one.
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OK, that’s fine. It’s fine.
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But anyway, you know, so I know they they know this already,
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but everyone’s really excited and can’t wait for that announcement to happen.
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So I think it’d be great when they make it official.
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Yeah. So the sooner the better.
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And season 12, I mean, the season 12 of Letter Kenny,
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that kind of felt like it was out of the blue,
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because when we were planning our trip up there,
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we had no clue what was happening.
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We were all summer long.
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We said we’re going to go in September.
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And then when I emailed the production company to say,
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hey, we’re going to be up there.
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They’re the ones who are like, oh, you should come out and visit us.
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So and incidentally, it’s a day after everyone leaves.
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So that’s why they rolled out the red carpet for us.
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Yeah, come do whatever you want.
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No one’s here. Oh, it was wonderful, though.
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Yeah, it really was. Yeah, we had a great time.
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And hopefully I’ll have a video of our shenanigans
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on YouTube sooner rather than later.
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I’ve just been too, too busy for, you know, with work.
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But again, thank you for joining us.
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And if anyone wants to listen to our first interview with Billy,
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you should you should look back.
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I should have wrote down what episode that was.
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But anyway, look back in our archives and you can learn
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all about Billy’s background in television and film tonight.
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He’s back here because he promised he’d come back to talk about Shorzy.
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So that’s what we’re going to do predominantly tonight.
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So Billy, you said you just recently rewatched all of Shorzy.
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Was it in preparation for tonight?
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A little bit. Yeah.
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What was it? Because you said, which tune do you like?
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And right. Because to me, it’s all a bit of a blur when you filmed it.
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Sure. And then when you color corrected, it was like,
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you’re so into the technical details.
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You don’t really just stop and smell the roses.
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OK, so was this your first time watching the whole series
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then without the work lens on?
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Probably maybe the second time.
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But yeah, definitely.
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Like the first time I just really went at it, like just clean,
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just listen to it and watch it, because I don’t listen to dialogue
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on set. I’m the only guy who doesn’t wear cans on set.
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I just concentrate on the visuals, not on the.
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Cool. And that makes and that makes sense.
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Right. With with your work, you need that.
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You have to have your your work mode, your focus mode.
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And that’s that’s where your eyes are. Right.
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Yeah, totally. Totally.
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So you went, you know, last time you were on,
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you were telling us you couldn’t wait until we watched Shorzy
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and you told us it was going to be great.
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And you were right.
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And I don’t know if you’ve listened to any of our reviews and recaps
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of Shorzy, but even Victor loved it.
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So it was it was a, you know, a smash hit, smash hit with all of us.
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It was a really amazing.
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Well, I said you loved it.
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What are you talking about?
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Anyway, so kudos, kudos, Billy.
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It was really, really good.
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We loved it. Yeah.
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It was a change of pace because Letter Can I started
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as an operator and then moved up to DOP.
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So but Shorzy was my show. Right.
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Yeah. And there was the rule going in from from Kiso that
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OK, it looks realistic and we do it right or we don’t do it
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because otherwise you’re going to lose the listeners.
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I mean, the viewers in the first five minutes.
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It’s got to be realistic.
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So that’s really shot for that realism that, you know, like
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the backstage decorator feels like the backstage
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or like the corridor hockey rink.
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You know what I mean?
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It doesn’t feel like you were in the real dressing room.
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Yeah. But it feels like a real dressing room.
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It smelled like a real dressing room.
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But it was it was so fascinating to be in the dressing room
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because, you know, even the walls, everything looks so real.
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You you you do make it look real.
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Like you’re you if that was what you’re looking to achieve,
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you absolutely nailed it.
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Like we were feeling the walls going.
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Yeah. Your set designers were amazing.
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Does this like it’s just it all looks so real.
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Yeah. Well, that’s the whole idea, right.
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And later, like a real dressing room.
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It’s not like beauty lighting.
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It’s not like, you know, a GQ fashion show, you know.
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And it’s like it’s supposed to look like in a hockey arena.
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Well, I was most blown away.
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It’s weird because it’s the simplest set.
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But Nat’s office just I went right up close to the
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what looks like cinder block and painted over like a million times
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and everything down to like like paint splotches, you know,
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because it’s been painted over and over and over again over,
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you know, after decades and decades of repainting.
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It’s all there. And but it’s just wooden plastic.
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There’s plaster. I mean, there’s no there’s no concrete.
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It’s amazing. Yeah.
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Well, that’s what they do. Right. Yeah.
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That’s the art of it. Well, they make adequate bucks.
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I mean, how long does it take to build a set?
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So if you’re coming in to shoot, I forget when Schorzy was.
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I feel like it was in in March or something like that of last year.
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Schorzy was like we shot in November last year.
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Oh, November. Oh, it was Lutter, Kenny 10, 10, 11.
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Those in March. OK.
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So if if if shooting happens in November,
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how early are the set guys in there building those sets?
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Like a month before a month, a month.
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It depends. You know, you can do it.
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Last of you throw more people at it. Right.
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But usually about a month before we get a hand in to delight it.
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And, you know, which usually on that show like that happens
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like the same day or that, you know, one day we made it
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and then you go at it. Right.
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Well, I imagine with especially with Covid and stuff like that,
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you you probably you’re probably not all in the studio
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when that’s all happening.
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You’re coming in after it’s all been built. Right.
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We go. We’ll appear.
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Well, it’s being built because we’ll start to do surveys.
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So I will get sent plans, whatever, if it’s a new set.
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But quite often we do see it while it’s being built.
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And and then we’ll go in that,
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you know, a few days before and look at it when it’s done.
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You know, do you do you have say in how it’s built for lighting
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and for for for different sections that you need? Yeah.
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Yeah. I love to see like that one wall is removable in the locker room
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so that I guess you can stick cameras there. Right.
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Like, yeah.
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Or that wall actually becomes the outside corner in that office. Yeah.
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It’s a dual purpose. Right. It’s a transformer.
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It’s amazing.
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Those guys are so talented.
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And I guess they don’t get a lot of recognition.
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00:10:15.860 –> 00:10:20.280
But how how many of that are people who work on television and film
235
00:10:20.280 –> 00:10:24.320
or versus like just regular contractors who are following?
236
00:10:24.720 –> 00:10:26.220
You know, like how many of those guys are artists
237
00:10:26.220 –> 00:10:27.740
and how many of them are tradespeople?
238
00:10:28.560 –> 00:10:30.020
Well, there’s tradespeople in the film business.
239
00:10:30.320 –> 00:10:32.920
But I mean, I don’t know.
240
00:10:33.140 –> 00:10:35.840
I think up north is probably a little different than in Toronto.
241
00:10:35.980 –> 00:10:39.820
But I think generally at least your head person is from,
242
00:10:40.060 –> 00:10:42.100
you know, from the business. They understand that. Yeah.
243
00:10:42.120 –> 00:10:45.780
Second instruction end of it and not, you know, you’re not building a house.
244
00:10:45.780 –> 00:10:49.120
It’s going to last 300 years. Sure. Because it’s a film set.
245
00:10:49.120 –> 00:10:53.240
One of my recent blue man and plaster. Yeah, it’s functional.
246
00:10:54.620 –> 00:10:56.960
Pretty sturdy, you know.
247
00:10:57.140 –> 00:11:00.500
Yeah. But walls fly and things to make it accessible.
248
00:11:00.940 –> 00:11:02.500
Yeah. For cameras and things. Right.
249
00:11:02.660 –> 00:11:05.640
Do you think it’s like you were filming in the
250
00:11:05.640 –> 00:11:08.160
I guess the kitchen set of Letter Kenny? Yeah.
251
00:11:08.460 –> 00:11:09.500
Yeah. The whole corner opens up.
252
00:11:09.540 –> 00:11:11.920
You probably didn’t realize that the corner behind Wayne.
253
00:11:12.120 –> 00:11:14.260
Oh, yeah. Hinge is right open.
254
00:11:14.420 –> 00:11:15.120
Oh, that makes sense.
255
00:11:15.160 –> 00:11:19.340
So that you can have like shots facing the opposite way and facing Michelle.
256
00:11:19.600 –> 00:11:22.740
Right. Or the counter front of Michelle, that whole counterpart
257
00:11:22.740 –> 00:11:25.380
rolls right out of the stage, rolls right out of the way.
258
00:11:25.600 –> 00:11:26.300
That’s amazing.
259
00:11:26.440 –> 00:11:28.020
I didn’t catch that. No.
260
00:11:28.560 –> 00:11:30.640
Well, that whole thing goes outside the wall.
261
00:11:30.880 –> 00:11:33.860
So just yeah, we were too enthralled by the empty cupboard.
262
00:11:33.880 –> 00:11:35.620
Yeah. What covers? There are no coverages.
263
00:11:36.020 –> 00:11:37.840
Just yeah, you open the door and it’s like flat.
264
00:11:38.040 –> 00:11:38.540
There’s wood.
265
00:11:38.900 –> 00:11:40.460
At least they didn’t forget food in the freezer.
266
00:11:41.110 –> 00:11:42.440
We checked just to make sure.
267
00:11:43.040 –> 00:11:43.620
Oh, thank God.
268
00:11:43.880 –> 00:11:45.940
You’re not going to check a fridge on the set.
269
00:11:46.820 –> 00:11:48.160
Although we do have
270
00:11:48.160 –> 00:11:54.120
we have Wayne’s pot roast recipe that was on the fridge.
271
00:11:54.180 –> 00:11:56.540
Yeah, we were warned not to try that recipe.
272
00:11:56.720 –> 00:11:58.620
Oh, no, I still think we need to make it.
273
00:11:58.700 –> 00:12:01.620
Just validate this recipe.
274
00:12:01.920 –> 00:12:06.460
Billy, do you have like a preference to whether you are working off of a set
275
00:12:06.460 –> 00:12:09.320
or whether you’re working on location like in like
276
00:12:09.320 –> 00:12:13.020
because originally it was all in, you know, the skids basement
277
00:12:13.020 –> 00:12:16.860
or it was at the farmhouse and now you have the sets for it.
278
00:12:17.140 –> 00:12:20.260
So what is there a preference from from one or do you,
279
00:12:20.860 –> 00:12:24.820
you know, do you enjoy working in one place over the other?
280
00:12:25.360 –> 00:12:28.460
I think the flexibility of a set is a big advantage
281
00:12:28.460 –> 00:12:30.580
because you can put things over the top.
282
00:12:30.620 –> 00:12:31.460
You can fly walls.
283
00:12:31.580 –> 00:12:35.760
You can, you know, you have control of it with the actual building,
284
00:12:35.760 –> 00:12:39.180
which you don’t always have the ability to build your, you know,
285
00:12:39.180 –> 00:12:42.120
cost too much to build as opposed to just renting it for a couple of days.
286
00:12:42.760 –> 00:12:44.420
But I do, like I said, better.
287
00:12:44.760 –> 00:12:46.400
Yeah. More flexibility and more.
288
00:12:46.400 –> 00:12:46.920
Yeah, for sure.
289
00:12:47.040 –> 00:12:48.760
Flexibility, especially if you’re going to the same place
290
00:12:48.760 –> 00:12:50.420
over and over and over and over and over.
291
00:12:51.020 –> 00:12:54.580
Yeah, I was I was saying when we were there, like when we got in the arena
292
00:12:54.580 –> 00:12:58.240
and of course, they turned on the house lights to let us see it.
293
00:12:58.240 –> 00:13:00.920
And I was and then I put it together like that’s not how you would do this.
294
00:13:01.100 –> 00:13:02.840
Those lights would all go off in your room.
295
00:13:03.320 –> 00:13:08.060
I would love in that room during a set light,
296
00:13:08.060 –> 00:13:10.800
like when everything else is off and you’ve taken control.
297
00:13:11.420 –> 00:13:14.420
I bet it’s a very different experience in that space.
298
00:13:14.580 –> 00:13:15.600
It’s a different experience.
299
00:13:15.980 –> 00:13:20.080
That the arena lights are only on for lunchtime, you know, or for work.
300
00:13:20.180 –> 00:13:23.420
Once my legs go on, I say, kill the house, you know, like
301
00:13:23.420 –> 00:13:24.900
all that crap goes off.
302
00:13:25.160 –> 00:13:27.780
I guess everybody has to go dead silent, too,
303
00:13:27.880 –> 00:13:31.500
because that would just echo or transfer into the space.
304
00:13:32.060 –> 00:13:35.340
Oh, yeah. Those microphones, too, picks up a flight for it.
305
00:13:35.340 –> 00:13:38.140
I mean, you got wow.
306
00:13:39.140 –> 00:13:40.100
Amazing. So cool.
307
00:13:40.740 –> 00:13:45.900
I would love to see like a video of behind the scenes on how it’s made,
308
00:13:46.120 –> 00:13:48.120
because like it’s just it’s so amazing.
309
00:13:48.280 –> 00:13:50.640
It was it was incredible just to be in that set.
310
00:13:51.120 –> 00:13:53.280
Yeah, it was it was impressive. That was impressive work.
311
00:13:53.360 –> 00:13:55.680
So you’re here to answer some questions from us,
312
00:13:55.680 –> 00:13:58.900
but also some of our listeners have submitted a few questions now.
313
00:13:59.700 –> 00:14:02.340
You know, obviously answer what you can.
314
00:14:02.340 –> 00:14:04.420
And I’ll try to I’ll try not to ask anything.
315
00:14:04.640 –> 00:14:06.540
I don’t think you can answer, but here we go.
316
00:14:06.540 –> 00:14:08.200
Our first one is from our buddy Adrian.
317
00:14:08.560 –> 00:14:11.580
Very different and unique look between the two shows.
318
00:14:12.020 –> 00:14:13.860
Was there any sort of direction from Kiso
319
00:14:14.700 –> 00:14:17.540
on direction or feel of what he wanted for Shorzy?
320
00:14:17.660 –> 00:14:20.840
You kind of mentioned it a bit more like you already said, more realism.
321
00:14:21.440 –> 00:14:26.240
But what specifically like I felt like there was a different color
322
00:14:27.680 –> 00:14:30.280
palette on the two shows, like more greens and reds
323
00:14:30.280 –> 00:14:31.980
and letter Kenny and more blue and Shorzy.
324
00:14:31.980 –> 00:14:35.380
Is that like the kind of stuff you guys look for a little bit?
325
00:14:35.380 –> 00:14:38.740
I think would be the art direction is definitely different.
326
00:14:39.280 –> 00:14:41.960
I think I think the Shorzy needed to feel a little cooler,
327
00:14:41.960 –> 00:14:45.820
a little bluer because of the nature of the beast is more of an ice show.
328
00:14:46.000 –> 00:14:47.780
So it kind of led it that way.
329
00:14:48.500 –> 00:14:52.240
But yeah, I just think it’s more it’s a combination of the art
330
00:14:52.240 –> 00:14:54.900
direction and the director and the photography that makes it look.
331
00:14:55.060 –> 00:14:56.760
I know what you’re saying. Shorzy is a different look.
332
00:14:57.400 –> 00:15:01.240
I wanted to make sure that it did not look like letter Kenny, too. Right.
333
00:15:01.240 –> 00:15:03.480
Like it just it just couldn’t look the same.
334
00:15:03.900 –> 00:15:06.980
Yeah, it just couldn’t or it would be it wouldn’t work. Right. Yeah.
335
00:15:07.020 –> 00:15:07.620
Well, it was great.
336
00:15:07.760 –> 00:15:10.700
I would say what I would say is you could 100 percent
337
00:15:10.700 –> 00:15:13.120
tell that it was by the creators of letter Kenny.
338
00:15:13.460 –> 00:15:17.680
But by no means was it letter Kenny and it had a completely different
339
00:15:17.680 –> 00:15:20.860
feel, look, everything. And congratulations on it, by the way.
340
00:15:20.960 –> 00:15:24.820
It really I rewatched the whole thing again over the last few days.
341
00:15:24.820 –> 00:15:26.180
And I just fucking love it.
342
00:15:26.180 –> 00:15:28.860
Like, it’s so much fun to watch.
343
00:15:28.860 –> 00:15:32.460
And I love some of that, like the different things you did,
344
00:15:32.480 –> 00:15:34.640
like from your perspective, did you have any like
345
00:15:35.320 –> 00:15:38.100
because there’s a lot more creativity in this than there was
346
00:15:38.100 –> 00:15:40.320
than from what I could see from the shot selection.
347
00:15:40.620 –> 00:15:44.460
Did you have any like favorite scenes or shots that you executed
348
00:15:44.460 –> 00:15:47.660
that you’re like, that was just a real fun one to do that
349
00:15:47.660 –> 00:15:48.640
to do to what you remember?
350
00:15:49.160 –> 00:15:49.880
I don’t know.
351
00:15:49.880 –> 00:15:54.620
I love the exterior Sudbury Arena stuff with Laurence LeBoeuf.
352
00:15:55.400 –> 00:15:56.440
It’s always really funny.
353
00:15:56.440 –> 00:15:58.440
It was just beautiful. It was just cool.
354
00:15:58.780 –> 00:16:00.460
And that was that was a lot of fun doing that.
355
00:16:00.460 –> 00:16:01.940
And we did it for a minimalist.
356
00:16:02.380 –> 00:16:04.000
Like literally, it’s like three lights.
357
00:16:04.660 –> 00:16:05.580
Yeah. Oh, yeah.
358
00:16:06.420 –> 00:16:07.780
And it was a lot of fun.
359
00:16:07.840 –> 00:16:08.740
The whole thing was a lot of fun.
360
00:16:08.840 –> 00:16:10.300
It was just a different experience.
361
00:16:10.480 –> 00:16:13.960
You know, I remember Kiesel saying in his apartment set,
362
00:16:13.960 –> 00:16:17.320
which was a real, real apartment because, you know,
363
00:16:17.320 –> 00:16:19.140
they weren’t built a set for one show. Right.
364
00:16:19.480 –> 00:16:22.040
And he’s like and he was like, it’s great. Great.
365
00:16:22.140 –> 00:16:23.040
It looks like a sitcom.
366
00:16:23.040 –> 00:16:25.420
And I’m like, great sitcom set.
367
00:16:25.540 –> 00:16:26.780
He says, well, I’ll fix that.
368
00:16:27.300 –> 00:16:28.440
So he’s like, what?
369
00:16:29.000 –> 00:16:32.180
You know, my whole thing is that it can’t look like it’s it’s funny.
370
00:16:32.380 –> 00:16:34.640
It’s comedy, but it can’t look like a sitcom.
371
00:16:34.820 –> 00:16:36.580
It’s got to be realistic. Right.
372
00:16:36.580 –> 00:16:36.980
Yeah.
373
00:16:37.180 –> 00:16:41.020
On the live stream, Casey’s asking someone ask him about slow mo, please.
374
00:16:41.080 –> 00:16:42.400
I can’t believe I forgot that.
375
00:16:42.500 –> 00:16:43.880
OK, so slow motion.
376
00:16:44.100 –> 00:16:46.360
I mean, it’s used a lot in Letter Kenny.
377
00:16:47.040 –> 00:16:51.800
It’s used even more, I feel like in in in Shorsey.
378
00:16:51.800 –> 00:16:55.380
You’d mentioned before, like you use like a different speed
379
00:16:55.380 –> 00:16:58.820
film and all that kind of stuff for the slow motion shots.
380
00:16:59.020 –> 00:17:03.020
So are you just constantly shooting with slow motion in mind or is it still
381
00:17:03.020 –> 00:17:05.319
like in the script before you guys shoot it?
382
00:17:05.460 –> 00:17:07.900
It’s it’s usually in the script or for certain types of scenes
383
00:17:08.980 –> 00:17:11.680
that would go 60 frames a second and just slow it down.
384
00:17:11.680 –> 00:17:13.180
You know, run a little bit.
385
00:17:13.280 –> 00:17:16.359
You know, there is a couple of hundred frames per second shots,
386
00:17:16.400 –> 00:17:20.140
I think in Shorsey, but I think it’s generally 60 frames a second.
387
00:17:20.140 –> 00:17:21.599
You know, just slow it down.
388
00:17:21.599 –> 00:17:24.619
Yeah. And that was the Mike was the Michael scene
389
00:17:24.619 –> 00:17:26.839
shot in 60 frames per second.
390
00:17:26.920 –> 00:17:29.060
What? What? What? The penis?
391
00:17:30.160 –> 00:17:30.560
Yes.
392
00:17:33.380 –> 00:17:36.800
How does everyone keep it together when that’s happening?
393
00:17:38.880 –> 00:17:41.180
Well, it’s obviously a close that, you know.
394
00:17:44.060 –> 00:17:44.740
That’s funny.
395
00:17:45.640 –> 00:17:48.720
Let’s see, we have a question here from Mike Benelli for Billy.
396
00:17:48.880 –> 00:17:50.560
Oh, yeah. So this is for you, Billy, obviously.
397
00:17:50.560 –> 00:17:53.500
And now that we’ve peeked behind the curtain, courtesy of Alan, the gang,
398
00:17:53.820 –> 00:17:56.960
what’s the hardest set to light and which is the easiest?
399
00:17:56.960 –> 00:18:00.760
OK, that’s a good question of the sets in the studio there.
400
00:18:01.220 –> 00:18:04.820
In Shorsey or well, in general, the ones that are in the studio,
401
00:18:05.020 –> 00:18:09.000
because we kind of showed everyone the kitchen, the skids basement,
402
00:18:09.820 –> 00:18:13.860
Nat’s office and the locker room, which one of those is the hardest to light?
403
00:18:14.780 –> 00:18:17.640
It depends on the type of scene and how much people move around.
404
00:18:17.720 –> 00:18:20.400
I mean, that’s, you know, the whole same old story, right?
405
00:18:20.560 –> 00:18:21.920
But I don’t know.
406
00:18:22.220 –> 00:18:25.140
I mean, the skids is kind of fun because you get to play with stuff
407
00:18:25.140 –> 00:18:27.500
and you’re all over the place, because every time you go in there,
408
00:18:27.560 –> 00:18:30.840
it’s dress different or you dress for a scene or you think the chairs move here.
409
00:18:30.920 –> 00:18:32.500
OK, let’s put the chair over there. Right.
410
00:18:32.800 –> 00:18:36.060
So it’s it’s a constantly evolving scene. So it’s kind of fun.
411
00:18:37.540 –> 00:18:40.060
I don’t know if one is easier than really than the other.
412
00:18:41.160 –> 00:18:42.280
OK, we’ll take it outside, then.
413
00:18:42.360 –> 00:18:45.640
I mean, daytime, nighttime snow, no snow.
414
00:18:46.920 –> 00:18:50.320
Underwater watching, you know, deuces.
415
00:18:53.560 –> 00:18:55.700
Floating by the beach, yeah.
416
00:18:57.620 –> 00:19:00.760
I don’t know. I think they’re all I like nighttime a lot.
417
00:19:01.300 –> 00:19:04.620
I mean, all my years of lighting night, I like the nighttime stuff in
418
00:19:04.620 –> 00:19:06.900
Georgia and we’ll see, you know, some more of it in Letter County.
419
00:19:07.080 –> 00:19:10.280
But I think that the nighttime is kind of a challenge.
420
00:19:10.420 –> 00:19:11.220
It’s fun for me.
421
00:19:11.420 –> 00:19:14.720
The daytime is kind of more you’re getting screwed by the clouds
422
00:19:14.720 –> 00:19:18.760
and the sun, you know, it’s more it’s more of a it’s more of a what
423
00:19:18.760 –> 00:19:20.200
what is going to happen today?
424
00:19:20.280 –> 00:19:22.460
You know, I think. Oh, yeah.
425
00:19:22.540 –> 00:19:26.300
Yeah, it was more parent, especially in when we were at the farm
426
00:19:26.300 –> 00:19:30.800
and we we we opened the tractor shed and just the difference
427
00:19:30.800 –> 00:19:33.520
between being outside and inside, how dark it is.
428
00:19:33.980 –> 00:19:35.840
Yeah, huge difference. Yeah.
429
00:19:35.940 –> 00:19:37.300
Yes. That’s immediately what I thought.
430
00:19:37.400 –> 00:19:38.800
We were like, I wonder how he likes this.
431
00:19:39.280 –> 00:19:41.540
Because when Wayne when Wayne’s standing up top, like even we tried
432
00:19:41.540 –> 00:19:44.640
to take a photo and you could barely see out like they had to have
433
00:19:44.640 –> 00:19:49.440
some big lights inside that barn or whatever it was of the hangar
434
00:19:49.440 –> 00:19:52.800
to get him lit up so you could then get the contrast right.
435
00:19:53.400 –> 00:19:54.080
Oh, yeah, absolutely.
436
00:19:54.400 –> 00:19:55.700
Absolutely. To get the ratios right.
437
00:19:55.740 –> 00:19:57.880
And it all depended if there’s if it was morning.
438
00:19:58.080 –> 00:20:01.280
So the barns front lit, which is a nightmare.
439
00:20:02.000 –> 00:20:04.260
Well, it’s you know, the barns back in the afternoon.
440
00:20:04.300 –> 00:20:06.740
And then it’s a little easier because you just got to light up
441
00:20:07.320 –> 00:20:09.280
the inside, not to the same level.
442
00:20:09.320 –> 00:20:11.600
The outside is not great with the fun, right?
443
00:20:11.600 –> 00:20:13.440
It’s still mind boggling to me
444
00:20:13.440 –> 00:20:16.080
how you hide all of that in the camera shot.
445
00:20:16.900 –> 00:20:18.260
Yeah, that’s the art, right?
446
00:20:18.260 –> 00:20:20.140
That’s the art of it. There’s the magic.
447
00:20:21.140 –> 00:20:22.720
Oh, and we’re talking about some of your
448
00:20:23.400 –> 00:20:25.020
most difficult shots to do.
449
00:20:25.180 –> 00:20:28.940
One comes to mind in Shorzy was a really high up shot in the arena
450
00:20:28.940 –> 00:20:32.040
when when wide one, the really wide one.
451
00:20:32.040 –> 00:20:36.420
It stays that wide for a long time where Shorzy is taunting
452
00:20:36.420 –> 00:20:39.920
the captain from the other team to come at him.
453
00:20:39.920 –> 00:20:43.340
I mean, that’s a you know, we would talk about all the unique
454
00:20:43.340 –> 00:20:47.180
shots you guys do on letter Kenny and that one there is
455
00:20:47.180 –> 00:20:51.420
I feel like it’s well, it’s kind of brave to have one that long
456
00:20:52.580 –> 00:20:55.820
that wide, like so many things could go wrong, right?
457
00:20:55.900 –> 00:20:58.300
Like, first of all, how do you set that up that high up?
458
00:20:58.980 –> 00:21:01.660
Well, we actually went up in the press booth
459
00:21:01.660 –> 00:21:06.740
we surveyed like weeks before and put like if you look at the cut
460
00:21:06.740 –> 00:21:09.920
of the shot with the, you know, the Jonathan Torrance and Jacob
461
00:21:09.920 –> 00:21:12.720
Turney playing sportscasters in the booth, you’ll notice
462
00:21:12.720 –> 00:21:14.400
there’s a camera behind them on a tripod.
463
00:21:14.480 –> 00:21:15.560
Well, that’s supposed to be that camera.
464
00:21:15.580 –> 00:21:16.100
Oh, OK.
465
00:21:17.020 –> 00:21:21.180
It is actually up in the rafters in the video booths
466
00:21:21.180 –> 00:21:24.100
where they they send the wolf across, you know, on the right
467
00:21:24.540 –> 00:21:25.580
running the side of the arena.
468
00:21:25.700 –> 00:21:27.800
You’re on you see the wolf’s ass go over your head, you know.
469
00:21:29.260 –> 00:21:31.780
So are you up there that high with the camera then?
470
00:21:32.320 –> 00:21:34.340
I go up to set it up, but I’m at the monitors.
471
00:21:34.340 –> 00:21:37.520
I mean, I tell them where I want it, but I don’t I don’t stay there
472
00:21:37.520 –> 00:21:40.560
with the camera down with the monitors, which is down at ice level with Jacob.
473
00:21:40.800 –> 00:21:42.140
You know, and it was something like that.
474
00:21:42.160 –> 00:21:44.560
Is there any additional special lighting going in that?
475
00:21:44.640 –> 00:21:48.400
Are you mainly relying on the house lights for something like of that size?
476
00:21:48.720 –> 00:21:52.040
Oh, I did a little something with the arena. Yeah.
477
00:21:52.600 –> 00:21:55.020
Explain about the Watson power later.
478
00:21:56.980 –> 00:21:58.160
Shut down, shut down.
479
00:21:58.200 –> 00:21:59.240
I’ll suddenly like that one.
480
00:21:59.260 –> 00:22:00.340
Where does that light come from?
481
00:22:00.400 –> 00:22:03.120
Just beside the orchestra, you know, just off camera.
482
00:22:03.120 –> 00:22:07.000
You know, it is it is basically it, but I do supplement.
483
00:22:07.280 –> 00:22:08.960
Yes, that’s really it’s a great shot.
484
00:22:09.080 –> 00:22:10.860
It’s a very, very memorable shot for sure.
485
00:22:10.900 –> 00:22:12.680
It’s very moving. Yeah. Yeah.
486
00:22:13.860 –> 00:22:16.780
Oh, OK, we have a question here from Tobias, and he’s wondering
487
00:22:16.780 –> 00:22:22.420
if you’ve heard from Kehlani Rose and and you have any updates on her
488
00:22:22.420 –> 00:22:26.240
condition last time I heard she’s doing well.
489
00:22:26.240 –> 00:22:28.600
I haven’t talked to her personally. Right.
490
00:22:28.880 –> 00:22:32.640
I know people who have and she’s doing well and she’s, you know,
491
00:22:32.640 –> 00:22:33.920
she’s such a sweetheart. Yeah.
492
00:22:34.080 –> 00:22:35.780
She really is such a sweetheart of a girl.
493
00:22:36.160 –> 00:22:37.840
And so I hear she’s doing well.
494
00:22:38.260 –> 00:22:38.920
And that’s good.
495
00:22:39.180 –> 00:22:41.840
I’ve seen she’s posted a bunch of videos on her Instagram
496
00:22:41.840 –> 00:22:45.540
and it looks like she’s, you know, well on her way to full recovery.
497
00:22:46.040 –> 00:22:48.160
And yeah, it shows a lot.
498
00:22:48.280 –> 00:22:49.700
Sure. Right. Enjoy every minute of it.
499
00:22:49.700 –> 00:22:50.200
Yeah, exactly.
500
00:22:51.160 –> 00:22:55.620
And if you shoot you quickly on that, on the note,
501
00:22:56.560 –> 00:22:57.860
I’m going to spin off that one a bit.
502
00:22:58.040 –> 00:23:00.820
You know, wherever we’ve talked to from letter, Kenny, including yourself,
503
00:23:00.820 –> 00:23:05.520
there was such a close, tight knit, almost family environment amongst cast
504
00:23:05.520 –> 00:23:10.600
and crew. Did that same vibe transfer into Shorzy with a brand new cast
505
00:23:11.160 –> 00:23:12.320
and maybe some new crew?
506
00:23:12.440 –> 00:23:14.220
I don’t know if you guys used all the same people,
507
00:23:14.500 –> 00:23:16.560
but was there that same sense of
508
00:23:17.800 –> 00:23:22.380
real commitment and love from everyone that came came out to to make it?
509
00:23:22.580 –> 00:23:24.640
Absolutely. It’s still the same thing.
510
00:23:24.800 –> 00:23:25.700
It’s it’s isn’t a family.
511
00:23:26.040 –> 00:23:28.640
It’s you know, it’s a different set of actors, as you said,
512
00:23:28.640 –> 00:23:31.260
which is yeah, it’s a whole new group of people.
513
00:23:31.520 –> 00:23:33.560
But a lot of the crew is the same. OK.
514
00:23:33.560 –> 00:23:37.820
So a lot of us have previous judgments and then, you know, back together.
515
00:23:38.860 –> 00:23:41.560
And yeah, so no new cast, but it all carried on the same.
516
00:23:41.620 –> 00:23:42.420
Yeah, that’s great.
517
00:23:43.720 –> 00:23:46.280
I feel like I could be wrong because, you know,
518
00:23:46.280 –> 00:23:48.980
we started covering letter Kenny later, but
519
00:23:50.080 –> 00:23:53.920
I feel like there are many more amateur actors on the Shorzy
520
00:23:53.920 –> 00:23:56.260
cast than there were on the letter Kenny cast.
521
00:23:57.160 –> 00:24:01.200
First of all, is it am I right on saying that or were there like?
522
00:24:02.460 –> 00:24:04.280
I don’t know amateur actors.
523
00:24:04.640 –> 00:24:08.260
People who are predominantly hockey players before they’re actors.
524
00:24:08.540 –> 00:24:12.140
And maybe this this might be their first time acting or you know what I mean?
525
00:24:12.760 –> 00:24:15.200
Well, you can teach someone the act, but you can’t teach someone to play
526
00:24:15.200 –> 00:24:16.940
hockey. Sure. Yeah, no, I get it.
527
00:24:17.000 –> 00:24:18.680
I understand. Yeah, hockey shows, right?
528
00:24:18.860 –> 00:24:20.100
It’s that they get a lot better.
529
00:24:20.300 –> 00:24:22.260
And then he fucking looks terrible.
530
00:24:22.460 –> 00:24:24.420
And then, you know, when you skate and then it’s like,
531
00:24:24.420 –> 00:24:25.920
that’s not believable at all.
532
00:24:26.480 –> 00:24:29.500
I mean, you can teach someone, you can do more takes and work on their
533
00:24:29.500 –> 00:24:32.240
acting a little bit if they got enough, but you can’t teach
534
00:24:32.740 –> 00:24:34.300
20 years of hockey skills.
535
00:24:34.600 –> 00:24:36.080
Absolutely. You know, you’re you’re right.
536
00:24:36.440 –> 00:24:38.380
Fantastic answer. Yeah, it’s the perfect answer.
537
00:24:38.380 –> 00:24:42.000
And that kind of leads me to one of the other scenes that stick out
538
00:24:42.000 –> 00:24:45.640
in my head, and that’s during I forget who they’re playing,
539
00:24:46.020 –> 00:24:51.140
but they they plan out a play and then and then you show it.
540
00:24:51.460 –> 00:24:55.620
And the way you show the play happening was exactly the way it was
541
00:24:56.100 –> 00:24:57.300
laid out in the plan.
542
00:24:57.540 –> 00:24:59.760
But I just love the way you guys showed it.
543
00:25:00.120 –> 00:25:04.180
Like, I’ve seen a lot of hockey movies and usually it’s just chaos on ice.
544
00:25:04.520 –> 00:25:08.700
Really quick cuts because hockey is such a weird sport to shoot.
545
00:25:09.180 –> 00:25:12.780
But you guys showed that play perfectly, like from the saucer pass
546
00:25:13.240 –> 00:25:16.180
to J.J. getting it at the blue line.
547
00:25:16.480 –> 00:25:18.340
And it was just really well done.
548
00:25:18.580 –> 00:25:20.300
Like, first of all, how long does something like that take?
549
00:25:20.300 –> 00:25:22.080
Is that one day or is that a few days?
550
00:25:23.020 –> 00:25:26.800
That scene where he flips the puck and Frankie J.J. skates into it.
551
00:25:26.820 –> 00:25:30.160
Yeah. Yeah. Oh, that’s half an hour.
552
00:25:30.180 –> 00:25:32.200
What? Come on. Come on.
553
00:25:32.340 –> 00:25:35.160
Really? That that’s that’s not a tough scene.
554
00:25:35.360 –> 00:25:38.800
No, it seemed like it felt like there was so many like things
555
00:25:38.800 –> 00:25:39.700
that could have gone wrong.
556
00:25:39.720 –> 00:25:42.080
And I guess that’s where, you know, if you have hockey players
557
00:25:42.080 –> 00:25:44.300
in the pocket catching on stage with like three takes.
558
00:25:44.440 –> 00:25:47.420
No, I like what the whole like, OK, winning the face off back.
559
00:25:47.560 –> 00:25:51.220
And then there’s a bunch of stuff that happened in between one to.
560
00:25:52.380 –> 00:25:56.220
Three. Yeah, at the most an hour.
561
00:25:56.720 –> 00:25:58.640
Really? Well, you just doubled his quote.
562
00:25:58.800 –> 00:25:59.260
There you go.
563
00:26:01.180 –> 00:26:02.560
Still, I mean, that’s impressive.
564
00:26:02.640 –> 00:26:07.600
And I’m wondering if, you know, I think of like Mighty Ducks movies
565
00:26:07.600 –> 00:26:12.820
or whatever or Miracle on Ice or the Alaska hockey movie or whatever,
566
00:26:13.220 –> 00:26:16.100
whether they had, you know, some of those shots, how long they.
567
00:26:16.100 –> 00:26:17.260
Those aren’t hockey movies.
568
00:26:17.500 –> 00:26:18.600
Youngblood is a hockey.
569
00:26:18.880 –> 00:26:21.020
But you know, you know what I’m saying, Victor, though,
570
00:26:21.020 –> 00:26:24.280
like some of those movies where they’re trying to represent hockey
571
00:26:24.280 –> 00:26:27.880
or the frenetic pace of hockey and all they’re doing is cut after cut
572
00:26:27.880 –> 00:26:31.120
after cut and you really you don’t really see what’s happening.
573
00:26:31.460 –> 00:26:34.680
Right. Whereas that shot there, I thought, did a really good job
574
00:26:34.680 –> 00:26:37.500
of showing everything that was laid out.
575
00:26:37.560 –> 00:26:38.100
You know what I mean?
576
00:26:38.500 –> 00:26:39.300
Tell us the story.
577
00:26:39.720 –> 00:26:40.980
That’s what it comes down to. Right.
578
00:26:41.060 –> 00:26:42.240
Tell them the story. Exactly.
579
00:26:42.640 –> 00:26:45.280
Yeah. You know, I think no one’s ever going to be a puck.
580
00:26:45.540 –> 00:26:46.860
So what about being the puck?
581
00:26:46.880 –> 00:26:49.940
The puck’s angle, you know, and it’s like just tell the story.
582
00:26:49.940 –> 00:26:51.020
Yeah. Yeah.
583
00:26:51.020 –> 00:26:52.320
Yeah. And now I think we’re getting like, you’re right.
584
00:26:52.360 –> 00:26:55.220
A lot of things, they they almost get too close to the action.
585
00:26:55.220 –> 00:26:56.920
Yeah. Just becomes absolute chaos.
586
00:26:56.940 –> 00:26:59.180
And maybe that’s what they’re trying to sell in those moments.
587
00:26:59.200 –> 00:27:02.240
Right. Whereas you kept the right distance so that we could still
588
00:27:02.240 –> 00:27:03.620
follow along with what was happening.
589
00:27:03.880 –> 00:27:07.460
Or it’s the difference between having actors or hockey players.
590
00:27:07.560 –> 00:27:08.380
There you go, too.
591
00:27:08.480 –> 00:27:11.680
Exactly. So they’re where they got the back.
592
00:27:11.820 –> 00:27:12.560
They can’t really play hockey.
593
00:27:12.720 –> 00:27:15.900
What’s his name? Was it Jamie Foxx who played Ray Charles?
594
00:27:16.180 –> 00:27:18.500
He could do it and they could show him playing the piano
595
00:27:18.500 –> 00:27:19.860
because he knew how to play the piano.
596
00:27:19.860 –> 00:27:23.420
As opposed to showing cutting away from somebody’s hands
597
00:27:23.420 –> 00:27:25.500
and showing the actor back and forth or whatever.
598
00:27:25.800 –> 00:27:26.300
Right. Exactly.
599
00:27:26.540 –> 00:27:28.960
So on that, on the on the hockey scenes, how much
600
00:27:29.780 –> 00:27:32.880
shooting happened versus the guys just messing around
601
00:27:32.880 –> 00:27:36.840
on the ice and Kiso trying to to get one past Terry Ryan like.
602
00:27:39.360 –> 00:27:40.380
Well, they were pretty disciplined.
603
00:27:40.560 –> 00:27:41.400
And when it came down to the hockey,
604
00:27:41.500 –> 00:27:44.060
a lot of it was choreographed by by the sun coordinator,
605
00:27:44.600 –> 00:27:47.720
Dan Skeen, but he would have certain ideas for certain plays.
606
00:27:47.720 –> 00:27:50.040
But, you know, and then Kiso was on the ice a lot, too,
607
00:27:50.040 –> 00:27:52.060
because he played Schorzy, obviously. Right.
608
00:27:52.120 –> 00:27:53.780
Yeah. Well, they’re pretty they’re pretty disciplined.
609
00:27:53.840 –> 00:27:57.040
They know they can’t they can’t screw around with the puck.
610
00:27:57.100 –> 00:27:59.920
Like I took a pipe in the foot of Dolo to me
611
00:27:59.920 –> 00:28:01.180
and then hit me in the foot of the park.
612
00:28:01.240 –> 00:28:02.540
And he felt so bad about it.
613
00:28:02.660 –> 00:28:04.120
And I’m like, dude, don’t make them worry about it.
614
00:28:04.760 –> 00:28:05.840
But they’re right. Oh, you buy your beer.
615
00:28:05.940 –> 00:28:08.060
Buy your beer. It’s once or several games about me.
616
00:28:10.580 –> 00:28:12.660
But no, there’s a general rule shooting
617
00:28:12.660 –> 00:28:14.120
hockey because they did power play, too.
618
00:28:14.140 –> 00:28:17.220
And so you don’t you can’t let people shoot pucks.
619
00:28:17.220 –> 00:28:19.360
You don’t have a bucket of pucks on the ice
620
00:28:19.360 –> 00:28:21.380
because they’re never going to start taking a slap truss
621
00:28:21.380 –> 00:28:22.480
and someone’s going to wear one.
622
00:28:23.280 –> 00:28:25.360
Yeah. You don’t want that. It’s too tempting, right?
623
00:28:25.580 –> 00:28:26.280
It’s too tempting.
624
00:28:26.500 –> 00:28:29.020
So you keep the pucks away from the players. Exactly.
625
00:28:29.800 –> 00:28:32.480
So did you know, going into Schorzy,
626
00:28:32.580 –> 00:28:36.260
how you wanted that to look, having the experience
627
00:28:36.260 –> 00:28:39.040
once already with with or I don’t know how
628
00:28:39.040 –> 00:28:43.280
what your experience is with hockey and shooting those scenes.
629
00:28:43.560 –> 00:28:45.620
But did you kind of have a feel already
630
00:28:45.620 –> 00:28:48.580
for how you wanted that those to look?
631
00:28:48.960 –> 00:28:52.520
Or is that something that was was requested,
632
00:28:52.520 –> 00:28:54.900
you know, through Kiso?
633
00:28:55.760 –> 00:28:58.240
No, and it’s a lot of us may say it’s Jacob Turney.
634
00:28:58.340 –> 00:29:00.260
Like we were just discussing in the surveys
635
00:29:00.260 –> 00:29:03.800
how we want things to look, you know, like we co-opted,
636
00:29:03.860 –> 00:29:06.740
you know, what the style should be, you know, like we had meetings
637
00:29:06.740 –> 00:29:09.280
and that’s where I do prep and, you know, surveys.
638
00:29:09.740 –> 00:29:11.820
And but generally a lot of it happens on the day.
639
00:29:11.820 –> 00:29:14.060
But I think we’re pretty much on the same page
640
00:29:14.060 –> 00:29:14.800
how things should look.
641
00:29:14.800 –> 00:29:18.600
So like shots, so it’s not really, you know.
642
00:29:19.520 –> 00:29:22.200
All right, we have a question here from another one from Tobias.
643
00:29:22.240 –> 00:29:25.000
Sudbury, the city is essentially a character in Schorzy.
644
00:29:25.380 –> 00:29:28.440
In what ways, in ways that it isn’t in Lutter County
645
00:29:28.440 –> 00:29:32.380
because Lutter County obviously doesn’t take place in Schorzy or in Sudbury.
646
00:29:33.320 –> 00:29:36.180
Why did the shift occur and how does that change
647
00:29:36.180 –> 00:29:38.020
staging of the shots or scene?
648
00:29:38.560 –> 00:29:40.540
So I guess what he’s getting at it, because
649
00:29:41.280 –> 00:29:44.260
Schorzy takes place in Sudbury, you can openly say, hey,
650
00:29:44.260 –> 00:29:47.000
we’re shooting Sudbury, this is Sudbury, as opposed to Lutter County.
651
00:29:47.260 –> 00:29:50.240
You had to be kind of like dodgy about shooting something
652
00:29:50.240 –> 00:29:52.460
and it’s not obviously Sudbury, right?
653
00:29:53.260 –> 00:29:56.280
Yeah, totally. You had to be more it was it’s more of a rural show
654
00:29:56.280 –> 00:29:58.540
and they would go into the big city, you know,
655
00:29:59.040 –> 00:30:00.380
to do some things, you know.
656
00:30:00.540 –> 00:30:02.980
Yeah. Well, and being like very, it’s like in Sudbury,
657
00:30:03.140 –> 00:30:06.400
you know, like the people, the architecture,
658
00:30:06.400 –> 00:30:09.320
you know, like the whole feel of the town, which I love.
659
00:30:09.380 –> 00:30:11.580
I love Sudbury, you know, it’s a fun place.
660
00:30:11.580 –> 00:30:15.360
That was my first time up there and it’s it’s an interesting place
661
00:30:15.360 –> 00:30:18.180
with a lot of character for sure. Oh, absolutely.
662
00:30:20.100 –> 00:30:21.180
Character and characters.
663
00:30:22.100 –> 00:30:23.040
Yes, absolutely.
664
00:30:23.300 –> 00:30:25.200
Well, we definitely visit town you’re in, too.
665
00:30:25.520 –> 00:30:28.800
Yeah. Well, we went and visited some of the original locations
666
00:30:29.600 –> 00:30:32.600
from like the early seasons of Lutter County, like the convenience store
667
00:30:32.600 –> 00:30:33.300
and stuff like that.
668
00:30:33.800 –> 00:30:36.020
And they’ve definitely seen better days,
669
00:30:36.020 –> 00:30:39.840
but probably since when you guys originally shot. So.
670
00:30:39.840 –> 00:30:41.120
Yeah. Oh, absolutely.
671
00:30:41.300 –> 00:30:43.500
We don’t even go to that store anymore.
672
00:30:44.160 –> 00:30:46.380
Well, they’ve painted the wall. It’s now gray.
673
00:30:46.780 –> 00:30:48.420
Oh, yeah, I know that.
674
00:30:48.540 –> 00:30:52.260
Yeah. But that the whole bar beside it, you know, is shut down.
675
00:30:52.720 –> 00:30:54.460
It’s it’s kind of yeah, it’s in disrepair.
676
00:30:54.460 –> 00:30:55.420
Special spot. Yeah.
677
00:30:55.420 –> 00:30:58.640
It’s a very special spot with some some special characters in patrons.
678
00:30:59.000 –> 00:31:03.060
Yeah. We were we felt a little unsafe when we were over there,
679
00:31:03.060 –> 00:31:04.680
but it’s still cool to see.
680
00:31:04.840 –> 00:31:05.840
Yeah. Yeah.
681
00:31:06.180 –> 00:31:09.380
And it’s weird because there’s like three distinct sets
682
00:31:10.280 –> 00:31:12.260
in that one parking lot, really,
683
00:31:13.020 –> 00:31:16.660
because you have the the where all the skids did all the dancing.
684
00:31:16.700 –> 00:31:20.620
Then you turn around and there’s the back of Modine’s
685
00:31:20.620 –> 00:31:24.040
where they come out and and when first has Modine’s one.
686
00:31:24.340 –> 00:31:25.080
Yeah, exactly.
687
00:31:25.120 –> 00:31:27.040
And then the front of Modine’s and then across the streets,
688
00:31:27.060 –> 00:31:29.480
the corner house where the corner building.
689
00:31:29.820 –> 00:31:32.580
Yeah. Yeah, it’s all very, very cool. Yeah.
690
00:31:33.300 –> 00:31:35.700
Yeah. Yeah, it’s quite the neighborhood. Mm hmm.
691
00:31:36.560 –> 00:31:38.480
Now, they got a good taco place nearby, too.
692
00:31:38.480 –> 00:31:40.520
Yeah, yeah, yeah, totally.
693
00:31:43.240 –> 00:31:45.760
So this next question might be a little unfair,
694
00:31:45.820 –> 00:31:48.420
but I’m interested to find out what your answer is to this.
695
00:31:48.920 –> 00:31:52.680
Can you Billy, you can only do one letter, Kenny or Schorzy, which one?
696
00:31:52.980 –> 00:31:53.940
Oh, that’s not fair.
697
00:31:53.980 –> 00:31:55.380
Can I do one? That’s not really fair.
698
00:31:55.720 –> 00:31:58.260
But you don’t have to answer.
699
00:31:59.420 –> 00:32:01.040
Schorzy. Yeah. Yeah.
700
00:32:01.600 –> 00:32:03.060
It’s new, right? It’s exciting.
701
00:32:03.480 –> 00:32:05.760
It’s it’s fun. Yeah, it’s a lot of fun.
702
00:32:05.820 –> 00:32:07.240
And it’s my baby. Yeah.
703
00:32:07.240 –> 00:32:08.600
OK, yeah. Yeah.
704
00:32:08.600 –> 00:32:12.160
Because you’re you’re you’re you’re DP from the beginning.
705
00:32:12.680 –> 00:32:13.700
Yeah. Yeah. All right.
706
00:32:13.700 –> 00:32:15.180
You know what? That’s I think that’s a good answer.
707
00:32:15.240 –> 00:32:18.240
I don’t think you’re disparaging letter, Kenny, by answering that.
708
00:32:18.360 –> 00:32:19.240
Oh, no, I love letter.
709
00:32:19.240 –> 00:32:21.740
Can you say like my wife calls me when I go up north?
710
00:32:21.880 –> 00:32:23.100
It’s like, you know, you’re going up to camp again.
711
00:32:23.220 –> 00:32:24.220
Yeah, exactly.
712
00:32:24.720 –> 00:32:25.680
I’m right. Yeah.
713
00:32:25.780 –> 00:32:26.780
People have known forever.
714
00:32:27.120 –> 00:32:29.100
Like since 2015, we started shooting it.
715
00:32:29.100 –> 00:32:32.760
So I know when these people, these doctors is watching them grow up.
716
00:32:32.960 –> 00:32:33.880
Really? Wow.
717
00:32:34.600 –> 00:32:37.140
Absolutely. I guess you have it because it’s been what since 20?
718
00:32:37.140 –> 00:32:39.800
Twenty fifteen, twenty sixteen, something like that.
719
00:32:40.020 –> 00:32:41.120
Yeah. Yeah.
720
00:32:42.100 –> 00:32:43.820
And a lot of these actors are young.
721
00:32:43.900 –> 00:32:45.600
So, yeah, they would have been really young when you started.
722
00:32:45.680 –> 00:32:47.420
They were really young when they started.
723
00:32:47.600 –> 00:32:52.680
They all have like wives and girlfriends and kids and, you know,
724
00:32:53.080 –> 00:32:54.220
they all grow it up now.
725
00:32:54.600 –> 00:32:56.920
Eight years or seven, you know, with seven filming,
726
00:32:57.080 –> 00:32:59.780
but eight one year old because of COVID. Right. Yeah.
727
00:33:01.940 –> 00:33:02.800
Letter, Kenny answers,
728
00:33:02.860 –> 00:33:05.640
wants to know what your favorite scene that you’ve shot
729
00:33:05.640 –> 00:33:07.880
and the most difficult scene that you shot.
730
00:33:08.360 –> 00:33:09.660
Let’s stick to Schorzy.
731
00:33:10.380 –> 00:33:12.060
Can you think of? Yeah.
732
00:33:12.640 –> 00:33:14.340
Did most difficult scene? Yeah.
733
00:33:14.860 –> 00:33:18.040
Like challenging, I don’t know, technically challenging or visually challenging.
734
00:33:19.760 –> 00:33:21.820
Hmm. That’s a tricky one.
735
00:33:21.860 –> 00:33:23.940
I don’t know if that is really challenging,
736
00:33:25.140 –> 00:33:27.300
more challenging than the other things I should say.
737
00:33:28.100 –> 00:33:30.460
His apartment was interesting. Yeah.
738
00:33:30.460 –> 00:33:31.200
Especially his apartment.
739
00:33:31.660 –> 00:33:32.560
Oh, because it’d be pretty small.
740
00:33:32.700 –> 00:33:34.140
If it’s a real apartment, it’d be pretty small.
741
00:33:34.140 –> 00:33:37.320
The real apartment was interesting to shoot because of, you know,
742
00:33:37.420 –> 00:33:41.880
the light level shift outside between the inside was like, wow, you know, it’s huge.
743
00:33:43.920 –> 00:33:48.080
I don’t know if there’s really, I mean, more and more night stuff on Schorzy,
744
00:33:48.620 –> 00:33:49.520
which is always fun,
745
00:33:49.740 –> 00:33:53.760
but I don’t know if anything is really more harder or just different.
746
00:33:53.900 –> 00:33:56.920
I mean, at this point in my career, nothing’s really harder. Right.
747
00:33:56.920 –> 00:33:59.260
It’s just like, if you want to do it in this amount of time,
748
00:34:00.060 –> 00:34:01.860
it requires this, you know what I mean?
749
00:34:02.020 –> 00:34:05.320
Or I need a lifter and extra guys here when you do one of the surveys.
750
00:34:05.500 –> 00:34:06.820
So you just kind of figure it out.
751
00:34:07.200 –> 00:34:10.219
What about the final shot and the final episode?
752
00:34:11.320 –> 00:34:13.480
Did you have to kind of shut the whole street down or?
753
00:34:13.719 –> 00:34:14.900
Oh, we shut the whole street down.
754
00:34:15.000 –> 00:34:16.940
And it was snowing like beautiful.
755
00:34:17.100 –> 00:34:19.699
And then the snow was coming down and it was like, hey, you can’t,
756
00:34:19.699 –> 00:34:20.540
you can’t buy this.
757
00:34:20.860 –> 00:34:23.239
I was going to say, how do you, how did you plan that?
758
00:34:23.380 –> 00:34:26.080
Or was it by, like, did you see it snowing so quickly?
759
00:34:26.199 –> 00:34:27.500
Let’s go set up like.
760
00:34:27.500 –> 00:34:30.080
We planned it and we actually moved it ahead.
761
00:34:30.219 –> 00:34:33.300
There’s a long story. We bumped it and bumped the day we’re going to shoot it.
762
00:34:33.540 –> 00:34:35.520
And, you know, that’s not the last scene.
763
00:34:35.600 –> 00:34:38.460
The last thing we shot, you know, I’m going to Sudbury,
764
00:34:38.940 –> 00:34:41.060
but the night we’re going to finally do it, we’re going to, okay,
765
00:34:41.080 –> 00:34:43.820
we have the permits to shut the street down. Everything’s in, you know,
766
00:34:43.860 –> 00:34:46.699
all the structure in a row and everything. And then it just snowed.
767
00:34:47.239 –> 00:34:50.480
Perfect. Beautiful. Like, like fluffy, fluffy.
768
00:34:51.620 –> 00:34:52.580
Yeah. But it sure looked good.
769
00:34:52.679 –> 00:34:54.320
Yeah, it was great. It looked amazing.
770
00:34:54.560 –> 00:34:57.480
The other one that comes to mind with that was,
771
00:34:57.480 –> 00:35:01.940
the, the back and the barbecue scene. The barbecue snowed that day. Yeah.
772
00:35:01.940 –> 00:35:06.120
And I’m like, that that’s real snow. So you can’t fake it.
773
00:35:06.240 –> 00:35:09.920
I’ve done fake snow. It doesn’t look like that. Yeah. It just doesn’t.
774
00:35:10.140 –> 00:35:11.840
Were you guys, were you guys talking to,
775
00:35:11.860 –> 00:35:15.820
should we not shoot right now or hell yeah, let’s shoot while it’s going.
776
00:35:16.240 –> 00:35:17.480
Okay. Yeah.
777
00:35:17.720 –> 00:35:20.260
I guess the only reason there is you’re running to continuity issues if
778
00:35:20.260 –> 00:35:22.860
it suddenly stops. Well, you just shoot fast, right?
779
00:35:22.860 –> 00:35:23.060
Yeah.
780
00:35:25.500 –> 00:35:28.420
It was supposed to snow all day. So it was not for a few hours.
781
00:35:28.440 –> 00:35:32.300
It wasn’t a huge, you know, huge panic, but we, once we went outside,
782
00:35:32.300 –> 00:35:35.300
we’d concentrate on that and then didn’t shot the inside. It was like,
783
00:35:35.480 –> 00:35:37.640
okay, let’s shoot the outside. Now when it’s snowing, you know,
784
00:35:37.900 –> 00:35:40.540
take advantage of the mother nature’s gift, you know,
785
00:35:41.120 –> 00:35:44.100
Is that one of those things of flipping over to the letter, Kenny,
786
00:35:44.100 –> 00:35:47.540
being in the, in the arena,
787
00:35:47.800 –> 00:35:52.280
we heard that there’s noise a lot on the roof and you have to
788
00:35:52.280 –> 00:35:54.360
when it’s raining or anything like that,
789
00:35:54.360 –> 00:35:58.160
do you have to stop everything and wait for it to be over then?
790
00:35:58.880 –> 00:36:01.640
No, if it’s raining, no, if it’s raining really hard,
791
00:36:01.720 –> 00:36:04.640
then I have to ADR the dialogue because you’re going to hear it in the
792
00:36:04.640 –> 00:36:07.540
white shot. You know, they can always fix the sound and post.
793
00:36:09.380 –> 00:36:12.940
Well, ADR means they, they, they record the lines later. Like,
794
00:36:13.560 –> 00:36:17.020
yeah, they’ll use the original shot as a guide track and then once they
795
00:36:17.020 –> 00:36:20.620
cut it, they’ll go back in the sound booth and redo the lines.
796
00:36:20.620 –> 00:36:22.340
Oh, wow. Yeah.
797
00:36:22.420 –> 00:36:24.880
That’s probably not preferable though. You don’t want to be doing too much of
798
00:36:24.880 –> 00:36:25.440
that, do you?
799
00:36:25.780 –> 00:36:29.480
No, you don’t, but it, but it happens. It just, it happens. You know,
800
00:36:29.580 –> 00:36:32.780
I remember shooting on a, what would Sal do? And we were shooting,
801
00:36:33.620 –> 00:36:37.480
right across the street from the Montreal bistro in, in, in Sudbury,
802
00:36:37.800 –> 00:36:41.300
where the railyards were at night. And it’s like, all of a sudden,
803
00:36:41.840 –> 00:36:42.880
there are marshalling cars,
804
00:36:44.180 –> 00:36:47.220
but what do you do? You just throw the sound away and you just redo it.
805
00:36:47.220 –> 00:36:50.440
Billy, you know, when I was in college learning,
806
00:36:51.280 –> 00:36:55.340
I went for audio visual communications and that was, I remember that,
807
00:36:56.140 –> 00:37:01.320
trying to sync voice to recorded video was the hardest thing that
808
00:37:01.320 –> 00:37:02.260
we had to do.
809
00:37:02.640 –> 00:37:03.620
Yeah. Oh, absolutely. It is.
810
00:37:04.700 –> 00:37:07.980
Yeah. Anyone who’s got any half of an eye,
811
00:37:08.020 –> 00:37:10.140
you can see when that audio is at a sink,
812
00:37:10.280 –> 00:37:12.100
even if it’s only a fraction, you just,
813
00:37:12.440 –> 00:37:15.020
there’s something about it feels on feels off and you’re like,
814
00:37:15.020 –> 00:37:16.740
that’s just not jiving, right?
815
00:37:16.740 –> 00:37:20.140
Well, things are also different now, right? I mean, you know,
816
00:37:20.140 –> 00:37:22.860
when I was doing it in the, in the nineties,
817
00:37:23.660 –> 00:37:27.740
the transition from analog to digital was just starting to happen. So,
818
00:37:27.740 –> 00:37:30.940
so, you know, they, all the kind of old fogies at that time, they,
819
00:37:30.940 –> 00:37:33.120
they said, you’re going to have to learn analog and you’re going to have
820
00:37:33.120 –> 00:37:35.200
to learn how to splice tape. You’re going to have to learn this,
821
00:37:35.360 –> 00:37:36.840
that and the other. And so,
822
00:37:36.840 –> 00:37:43.200
so we had that kind of added advantage or disadvantage of kind of being
823
00:37:43.200 –> 00:37:45.340
able to be learning on both kinds of modalities.
824
00:37:45.580 –> 00:37:49.280
But now I imagine it’s easier. It’s all digital now.
825
00:37:49.620 –> 00:37:53.040
Yeah, it’s all, yeah. I remember working on a, or in college,
826
00:37:53.060 –> 00:37:58.160
working on a fully sound stage, a hundred and a hundred track console with a
827
00:37:58.160 –> 00:37:59.720
big screen and the movies playing.
828
00:37:59.960 –> 00:38:03.420
And we’re like watching it with like doing footsteps with our hands and,
829
00:38:03.420 –> 00:38:08.160
and all the, like all the fun sound effects and timing it out properly
830
00:38:08.160 –> 00:38:11.660
and stuff, man, thank God it’s digital now, cause that took forever.
831
00:38:12.220 –> 00:38:12.980
Yeah, totally.
832
00:38:13.480 –> 00:38:15.500
But I always thought how cool it would be to be a fully artist.
833
00:38:15.500 –> 00:38:18.160
It was fun. It was fun for sure. They gave our,
834
00:38:18.160 –> 00:38:22.220
our final project was two minutes of silent James Bond footage,
835
00:38:22.220 –> 00:38:25.540
and we had to fill in all of the audio and holy crap,
836
00:38:25.560 –> 00:38:27.760
the things you don’t think about, you know,
837
00:38:28.080 –> 00:38:31.580
the firing guns inside, outside a helicopter, inside,
838
00:38:31.700 –> 00:38:34.640
outside the dropping of the shells, the, it was a skiing scene.
839
00:38:34.740 –> 00:38:38.560
So there was like snow, but yeah, it was crazy. It was just unbelievable.
840
00:38:38.980 –> 00:38:41.540
Most guns are, most guns are done post anyways,
841
00:38:41.600 –> 00:38:45.120
because real gunfire is too loud. It just doesn’t, doesn’t work.
842
00:38:45.460 –> 00:38:48.520
So they’ll just use it as a cue and put it in their own sound anyways.
843
00:38:49.300 –> 00:38:49.700
Wow.
844
00:38:50.540 –> 00:38:52.920
Question here from, let’s see. Oh, well, Trace,
845
00:38:52.960 –> 00:38:54.280
we were kind of talking about this before,
846
00:38:54.300 –> 00:38:56.640
but how much consideration has to be taken for the snow?
847
00:38:57.040 –> 00:38:58.760
Does it change how you light or shoot it?
848
00:38:58.860 –> 00:39:01.800
Does shooting in falling snow present any difficulties?
849
00:39:04.660 –> 00:39:08.540
Shooting and shooting in snow is just got to be aware of,
850
00:39:08.560 –> 00:39:11.460
lighting because if you start throwing light around,
851
00:39:11.620 –> 00:39:13.960
then if you’re front lighted, it’s going to look like more than there is.
852
00:39:14.020 –> 00:39:16.060
And if you’re back lighted, it’s going to look like more than there is.
853
00:39:16.400 –> 00:39:21.120
So it’s just like, you just deal with it more side lady, more,
854
00:39:21.700 –> 00:39:23.940
I don’t know. I snow on the ground. It’s not a big deal.
855
00:39:24.040 –> 00:39:25.980
So you just get more bounce off the ground. Yeah.
856
00:39:26.620 –> 00:39:27.540
I’ve been on shows where you put,
857
00:39:27.760 –> 00:39:30.300
I graduated in the, in the bottom of the camera instead of the top,
858
00:39:30.540 –> 00:39:32.320
you just put it in the top to control the sky,
859
00:39:32.340 –> 00:39:35.260
put it in the bottom to take the snow down a little bit on a bright
860
00:39:35.260 –> 00:39:37.500
summer day on a bright winter day. And so,
861
00:39:37.500 –> 00:39:40.280
but not really, you know,
862
00:39:42.220 –> 00:39:45.340
you can’t really go in with just a straight plan of what to do because it,
863
00:39:45.980 –> 00:39:49.420
especially with location, it changes. But the time you look at it,
864
00:39:49.500 –> 00:39:52.780
just assume it’s going to be the exact opposite in your actual location.
865
00:39:53.520 –> 00:39:55.700
Right. That’s always a good rule of thumb.
866
00:39:55.900 –> 00:39:56.740
Bring all your lighting.
867
00:39:57.400 –> 00:39:59.020
If it’s going to look with cold, dry, sunny day,
868
00:39:59.040 –> 00:40:01.500
I assume it’s going to pour. It’s going to be sunny.
869
00:40:01.700 –> 00:40:02.780
Be ready for anything.
870
00:40:02.780 –> 00:40:03.280
You ready?
871
00:40:04.500 –> 00:40:08.000
The glare off of snow too is like it’s blinding.
872
00:40:08.020 –> 00:40:09.980
So that must be tricky in itself.
873
00:40:10.640 –> 00:40:12.500
Well, you have a filter called a polarizer.
874
00:40:12.600 –> 00:40:15.460
So you can polarize the sunglass that you would actually dial in
875
00:40:15.880 –> 00:40:17.640
how much reflection you want off the snow.
876
00:40:17.760 –> 00:40:20.760
Are you actually adjusting to see through a front windshield of a car
877
00:40:21.220 –> 00:40:22.420
or not see through it?
878
00:40:22.440 –> 00:40:24.420
If you want it white or you want it black or do you want it?
879
00:40:24.420 –> 00:40:26.100
You want to see through it? You don’t want to see through it.
880
00:40:26.100 –> 00:40:29.580
That’s all done with a polarizer filter camera on the lens.
881
00:40:29.820 –> 00:40:32.620
So I’m just going to have the technology, Tim.
882
00:40:32.620 –> 00:40:34.380
I just feel like you’re a magician.
883
00:40:36.980 –> 00:40:40.160
Experience is an old fart, you know.
884
00:40:40.960 –> 00:40:44.880
Aaron asks, how much do scenes change from storyboarding to post production?
885
00:40:45.280 –> 00:40:47.700
And any that stand out in terms of biggest changes?
886
00:40:48.360 –> 00:40:51.900
So you get the script or the storyboard and then you get on on location
887
00:40:51.900 –> 00:40:56.000
and maybe some queso or tyranny says, let’s do something different.
888
00:40:56.940 –> 00:40:58.100
How often does that happen?
889
00:40:58.320 –> 00:41:01.760
And yeah, can you think of like maybe the most drastic example of time?
890
00:41:01.760 –> 00:41:04.460
Yeah, all the time, all the time.
891
00:41:04.640 –> 00:41:06.040
Well, because you can’t come up with a better idea.
892
00:41:06.240 –> 00:41:10.240
I think I think that people go in that if you go in with a pre-fixed notion
893
00:41:10.240 –> 00:41:14.000
of how you’re supposed to do it, then then it’s not always the best notion.
894
00:41:14.000 –> 00:41:16.500
Sometimes you just see things and you go, no, let’s do that over here.
895
00:41:16.500 –> 00:41:17.540
Or let’s do that over here.
896
00:41:17.560 –> 00:41:20.900
I think just to be flexible and go with go with what those two want
897
00:41:20.900 –> 00:41:22.180
and then try and deliver them.
898
00:41:22.860 –> 00:41:26.320
You know, it’s like I try and light sets to be ready to jump to 60 frames
899
00:41:26.320 –> 00:41:28.920
in a heartbeat, because I don’t know if they’re going to say to me,
900
00:41:29.000 –> 00:41:31.340
OK, fuck, you know what, let’s just do 60 frames here.
901
00:41:31.340 –> 00:41:33.540
So I don’t want to have to relight the set.
902
00:41:33.580 –> 00:41:37.380
So I try to take that into consideration when I originally like the set,
903
00:41:38.020 –> 00:41:40.500
you know, just to be prepared
904
00:41:41.320 –> 00:41:44.200
for an inevitable change, because you don’t want to be the one to say,
905
00:41:44.280 –> 00:41:46.100
no, you can’t do that or yeah, you can do that.
906
00:41:46.100 –> 00:41:48.420
But that’s going to take me so much longer.
907
00:41:48.540 –> 00:41:51.520
Like there are times you go into a set where you have an idea
908
00:41:51.520 –> 00:41:54.480
and it just totally changes what you what you talked about.
909
00:41:54.580 –> 00:41:57.760
So you just have to be willing to go with the flow and change it up.
910
00:41:57.980 –> 00:42:00.480
You can’t be hard set on what your thought was going to happen.
911
00:42:00.480 –> 00:42:02.100
You’re going to jump up and have a tantrum.
912
00:42:02.480 –> 00:42:05.100
No, I hold your breath.
913
00:42:05.240 –> 00:42:08.980
No, Jared. Oh, that’s not what we talked about.
914
00:42:09.700 –> 00:42:11.080
No, you got to be able to go with the flow.
915
00:42:11.120 –> 00:42:11.860
You have an idea.
916
00:42:11.860 –> 00:42:13.120
You’d be prepared for everything.
917
00:42:13.420 –> 00:42:15.640
But just try and go with the flow.
918
00:42:15.880 –> 00:42:18.620
Right. Especially when you guys are shooting as tight a schedule as you.
919
00:42:18.620 –> 00:42:20.800
It seems like you do and as quickly as you do.
920
00:42:20.880 –> 00:42:23.060
Right. You kind of have to take what’s given to you.
921
00:42:24.000 –> 00:42:25.460
Mm hmm. Yes, exactly.
922
00:42:26.440 –> 00:42:27.520
Exactly. You can’t.
923
00:42:27.540 –> 00:42:28.620
You got to work with what’s given you.
924
00:42:28.880 –> 00:42:29.740
All right. Cool.
925
00:42:29.740 –> 00:42:30.860
Here’s an interesting one.
926
00:42:30.980 –> 00:42:32.600
This isn’t about Letter County or Schorzy,
927
00:42:32.660 –> 00:42:35.760
but basically our buddy Stephen, he asks, in your opinion,
928
00:42:36.160 –> 00:42:38.340
what’s the most visually beautiful, stunning,
929
00:42:38.620 –> 00:42:41.640
well shot movie or TV show that you’ve seen?
930
00:42:42.100 –> 00:42:43.700
Like, I mean, I’m sure, you know, doing what you do,
931
00:42:43.700 –> 00:42:44.720
you’ve probably seen a lot.
932
00:42:44.960 –> 00:42:46.880
So what would give us some some good ones?
933
00:42:47.780 –> 00:42:49.120
Oh, geez, I don’t know.
934
00:42:49.540 –> 00:42:50.960
It depends what you’re looking for.
935
00:42:51.020 –> 00:42:52.120
And everyone has their own taste.
936
00:42:52.600 –> 00:42:55.620
My personal peeve is that shows that they show dark
937
00:42:55.620 –> 00:42:57.400
by just being no exposure at all.
938
00:42:57.500 –> 00:42:59.720
Like literally, you’re closing the curtains in your living room
939
00:42:59.720 –> 00:43:02.360
going, OK, I know there’s some actor there out there.
940
00:43:02.580 –> 00:43:05.260
Anything by D.C., I believe, is like, yeah,
941
00:43:06.320 –> 00:43:07.920
I know there’s an actor in this scene.
942
00:43:08.260 –> 00:43:11.560
You know, no, I generally take depends what.
943
00:43:12.220 –> 00:43:14.120
To me, lighting should be invisible.
944
00:43:14.540 –> 00:43:17.000
Like if you’re noticing the lighting, unless it’s
945
00:43:18.180 –> 00:43:21.140
specific effect, then then you’re taking away from the acting.
946
00:43:21.620 –> 00:43:24.180
All you’re trying to do is a cinematographer or, you know,
947
00:43:24.180 –> 00:43:26.460
as a gaffer, as I’ve been for many years doing the lighting is.
948
00:43:27.700 –> 00:43:31.960
I put the actors in a mood in a scene where the viewer believes
949
00:43:31.960 –> 00:43:34.960
that they’re watching what they’re watching, you know, like to me,
950
00:43:35.160 –> 00:43:37.540
being when I operate for somebody, if I got a tear in my eye
951
00:43:37.540 –> 00:43:40.300
watching an emotional scene with an actor, I’d know it’s a good performance
952
00:43:40.300 –> 00:43:45.200
because if I believe them, then then you would then the viewer would believe
953
00:43:45.200 –> 00:43:48.660
them like invest in it, you know what I mean?
954
00:43:48.660 –> 00:43:51.680
Like it shouldn’t feel like, oh, they’re doing this incredible scene,
955
00:43:51.720 –> 00:43:52.980
but it looks like a supermarket.
956
00:43:53.400 –> 00:43:56.440
You know, it’s supposed to be in a, you know, bedroom, you know,
957
00:43:56.440 –> 00:44:01.920
what I mean? OK, well, look, can you even enjoy TV shows or movies in that way?
958
00:44:02.020 –> 00:44:05.400
We’re to watch. I was just going to say, like, are you always
959
00:44:05.400 –> 00:44:10.080
just technically looking at it from a from your standpoint?
960
00:44:10.340 –> 00:44:12.680
Does Carmel just say shut the fuck up, Billy? Come on.
961
00:44:13.220 –> 00:44:15.720
Yeah, sometimes the British things.
962
00:44:16.140 –> 00:44:17.280
So what are you watching?
963
00:44:17.620 –> 00:44:19.960
That looks terrible, you know.
964
00:44:20.460 –> 00:44:21.180
That’s a great story.
965
00:44:21.280 –> 00:44:22.680
I said, OK, but it looks terrible.
966
00:44:23.820 –> 00:44:24.220
Amazing.
967
00:44:25.460 –> 00:44:27.800
Well, let me ask it this way, then, is there other than Tierney,
968
00:44:27.840 –> 00:44:29.840
because obviously he’s the greatest director on the planet.
969
00:44:30.340 –> 00:44:35.120
Yeah. Is there a director whose work you you
970
00:44:35.120 –> 00:44:37.340
you appreciate, you know, above others?
971
00:44:38.640 –> 00:44:40.500
Um, I don’t know.
972
00:44:40.540 –> 00:44:43.680
I mean, I was lucky enough to work with Delbert Mann, who shot a movie
973
00:44:44.420 –> 00:44:47.200
one of the Academy Award for Best Director of a movie called Marty
974
00:44:47.200 –> 00:44:49.760
in 1959, whatever.
975
00:44:49.760 –> 00:44:52.640
And, you know, he was just a gentleman.
976
00:44:52.800 –> 00:44:56.140
You know, he just knew he knew how to tell a story to me.
977
00:44:56.480 –> 00:44:57.720
He taught me a lot.
978
00:44:58.040 –> 00:45:00.920
And then the DOP was, you know, what shot to India
979
00:45:00.920 –> 00:45:01.920
and nominated for Oscar.
980
00:45:02.060 –> 00:45:02.940
Also operated Dr.
981
00:45:03.060 –> 00:45:04.480
Shavarga, Lawrence of Arabia and.
982
00:45:04.480 –> 00:45:07.100
Wow. Yeah, those are pretty serious dudes.
983
00:45:07.180 –> 00:45:08.700
When I was a young, you know, I was a young buck.
984
00:45:08.800 –> 00:45:12.140
I was in like 30s, I guess, young 30s.
985
00:45:12.180 –> 00:45:14.020
So, I mean, I learned a lot from people like that.
986
00:45:14.020 –> 00:45:16.800
But you run across people who are really together.
987
00:45:17.200 –> 00:45:18.880
I’m lucky ran across
988
00:45:18.880 –> 00:45:21.900
Tony Kiesel at this point in my career, being, you know, an older filmmaker,
989
00:45:22.020 –> 00:45:25.240
let’s face it, to run across guys like that, that are actually filmmakers,
990
00:45:25.400 –> 00:45:26.600
too, in the storytelling.
991
00:45:26.820 –> 00:45:29.220
It’s like, oh, how refreshing is this?
992
00:45:29.860 –> 00:45:32.440
You know, like, it’s like, oh, my God, people that aren’t full of themselves.
993
00:45:32.620 –> 00:45:35.960
Like, it’s just like, let’s just there’s no egos involved.
994
00:45:36.220 –> 00:45:38.820
Like, yeah, just make the best possible thing we can, you know.
995
00:45:39.180 –> 00:45:41.720
Yeah. Well, they certainly feel like real passion projects.
996
00:45:41.840 –> 00:45:42.360
Like you can watch.
997
00:45:42.360 –> 00:45:44.380
Will you watch Shorzy or Letter Kenny?
998
00:45:44.820 –> 00:45:46.300
There’s nothing out there
999
00:45:46.300 –> 00:45:49.220
that compares in terms of look and style and feel.
1000
00:45:49.400 –> 00:45:52.140
Yeah. To those who are like they are truly unique.
1001
00:45:52.940 –> 00:45:55.440
Yeah. Oh, we’ve lost Matt.
1002
00:45:56.220 –> 00:45:59.360
Oh, and as I say, that’s another reason people are so drawn to them
1003
00:45:59.360 –> 00:46:01.880
is because they’re so truly, truly unique. Right.
1004
00:46:02.400 –> 00:46:03.200
And that’s true.
1005
00:46:03.480 –> 00:46:06.260
Yeah. We try not to do what other people are doing. Right.
1006
00:46:06.340 –> 00:46:08.380
Lead follower got out of the way. Right. Yeah.
1007
00:46:08.420 –> 00:46:11.460
So it feels like, I mean, you’re more pragmatic
1008
00:46:11.460 –> 00:46:14.460
about your approach with with shooting and stuff.
1009
00:46:15.080 –> 00:46:17.080
So you don’t get too precious with things.
1010
00:46:17.220 –> 00:46:20.820
But another question that Stephen asked, was there a shot that you wanted
1011
00:46:20.820 –> 00:46:25.400
that maybe got nixed or a specific shot that you’re proud of?
1012
00:46:25.940 –> 00:46:29.300
Can you talk about anything like that on Shorzy, specifically Shorzy?
1013
00:46:31.300 –> 00:46:32.500
Um, not really.
1014
00:46:32.600 –> 00:46:35.720
I like I like the 360 steady cam shot around the rink
1015
00:46:35.720 –> 00:46:38.180
where the two girls go around and they’ll go all around the whole rink
1016
00:46:38.180 –> 00:46:41.380
when the bums are getting in seats or around the whole rink.
1017
00:46:41.780 –> 00:46:43.520
That’s a fun shot. OK.
1018
00:46:44.220 –> 00:46:46.620
So when they walk out and then they kind of turn around and
1019
00:46:47.140 –> 00:46:48.360
and they take it all in around.
1020
00:46:48.620 –> 00:46:51.140
But the camera goes all the way out and comes back around
1021
00:46:51.140 –> 00:46:52.560
and ends up on them back again.
1022
00:46:52.880 –> 00:46:55.060
I got a fun shot to do. OK.
1023
00:46:56.440 –> 00:46:57.420
And lots of stuff is good.
1024
00:46:57.540 –> 00:46:59.480
I really like this stuff for Laurence LeBouffe
1025
00:46:59.480 –> 00:47:02.520
up out in front of the sub arena was was fun.
1026
00:47:02.700 –> 00:47:06.180
You go around her face and back, you know, excuse me, back in on her.
1027
00:47:06.180 –> 00:47:08.820
That was fun. The whole thing is a lot of fun, you know.
1028
00:47:08.820 –> 00:47:09.660
Mm hmm.
1029
00:47:11.240 –> 00:47:13.260
We shoot stuff you never see. Yeah.
1030
00:47:13.960 –> 00:47:16.440
Right. Well, that’s so is there one in particular
1031
00:47:16.440 –> 00:47:18.940
maybe that you wished that made the cut that
1032
00:47:20.260 –> 00:47:24.060
really, I mean, it’s the choice, you know,
1033
00:47:24.180 –> 00:47:26.600
that maybe takes you like better certain things.
1034
00:47:26.600 –> 00:47:29.680
But I think the ultimate they make the right choice. Yeah.
1035
00:47:30.260 –> 00:47:33.560
I mean, you know, everything you shoot doesn’t end up in the show.
1036
00:47:33.560 –> 00:47:36.700
Sure. Of course. Another shot that I well, I think we all
1037
00:47:36.700 –> 00:47:39.840
universally love is the the the prison yard scene.
1038
00:47:40.500 –> 00:47:43.700
And yes, that’s you know, that’s kind of bringing some letter Kenny
1039
00:47:45.200 –> 00:47:48.080
practice there because it’s a very symmetrical scene.
1040
00:47:48.080 –> 00:47:51.060
And from the last time you were on, you talked about how you guys love
1041
00:47:51.060 –> 00:47:53.760
symmetry, but even just like the shift in focus
1042
00:47:53.760 –> 00:47:56.480
so you can see through the fence and and all that stuff.
1043
00:47:56.480 –> 00:47:59.060
Like, it’s very nice. It’s a really well done shot.
1044
00:47:59.580 –> 00:48:01.840
Oh, thank you. It was so cold that morning. Yeah.
1045
00:48:01.840 –> 00:48:07.460
Well, I would put the dolly in the snow.
1046
00:48:07.620 –> 00:48:10.420
You get across the fence, a piece of fence in, you know, a piece of fence.
1047
00:48:10.920 –> 00:48:13.200
Oh, so that fence wasn’t there.
1048
00:48:13.240 –> 00:48:14.300
You guys put that in.
1049
00:48:14.720 –> 00:48:16.340
Yeah, we put a section of fence in.
1050
00:48:18.600 –> 00:48:21.240
Because you’re trying to figure out where that we’re like
1051
00:48:21.240 –> 00:48:22.160
driving around suburb again.
1052
00:48:22.220 –> 00:48:24.240
Where’s that prison? Where did they shoot the prison scene?
1053
00:48:24.520 –> 00:48:26.360
Oh, man. I was north of the arena.
1054
00:48:26.400 –> 00:48:28.780
I thought so. Yeah, I thought so.
1055
00:48:28.840 –> 00:48:31.000
I thought so. I had a couple of sections of fence.
1056
00:48:31.000 –> 00:48:32.640
You know what? When we were leaving the arena.
1057
00:48:32.660 –> 00:48:33.620
I called it. Yeah.
1058
00:48:33.640 –> 00:48:36.460
When we were leaving the arena, we’re like, I wonder if that was the prison.
1059
00:48:36.580 –> 00:48:37.700
That looks like the prison.
1060
00:48:38.720 –> 00:48:40.120
Very good. Yeah, that was the prison.
1061
00:48:41.400 –> 00:48:43.840
Our buddy, Jeff, he says, Billy, does a great job
1062
00:48:43.840 –> 00:48:46.920
at making mundane things look beautiful and artsy, like random shots
1063
00:48:46.920 –> 00:48:49.460
of the city that most people wouldn’t think to look at twice.
1064
00:48:49.720 –> 00:48:52.960
We can attest to that because driving around Sudbury, it’s surprising.
1065
00:48:53.240 –> 00:48:55.440
Like, yeah, some of those scenes were like, wow, you know,
1066
00:48:55.440 –> 00:48:58.380
it’s amazing that they thought that this would be a good place to shoot.
1067
00:48:58.380 –> 00:49:00.840
How much of it is in
1068
00:49:00.840 –> 00:49:03.820
is in your eye, like is actually there?
1069
00:49:03.860 –> 00:49:05.280
How much of it is camera trickery?
1070
00:49:05.380 –> 00:49:07.840
You kind of already, you know, talk about that.
1071
00:49:07.840 –> 00:49:10.540
I think a lot of the establishment shots in between shots
1072
00:49:10.540 –> 00:49:14.920
actually shot by my operator, Monica Goodat.
1073
00:49:15.100 –> 00:49:17.720
OK, she went out with a camera and they said, shoot this, shoot this,
1074
00:49:17.720 –> 00:49:20.040
shoot this with our associate producer, Brendan Brady.
1075
00:49:20.180 –> 00:49:21.740
And then she just shot it.
1076
00:49:22.280 –> 00:49:23.880
And she didn’t get the credit.
1077
00:49:23.880 –> 00:49:26.800
It’s like an image of DOP, which you should have in my opinion.
1078
00:49:26.800 –> 00:49:29.620
But yeah, she was she did a lot of the shots.
1079
00:49:29.620 –> 00:49:31.840
And I think she did a fantastic job on them.
1080
00:49:32.060 –> 00:49:32.980
All right. Yeah.
1081
00:49:33.260 –> 00:49:35.780
Oh, it wasn’t they wouldn’t drag man, you know, for that.
1082
00:49:35.780 –> 00:49:36.340
You kidding?
1083
00:49:38.540 –> 00:49:40.320
Oh, is that same for like the sleepover episode?
1084
00:49:40.500 –> 00:49:43.900
Letter Kenny, that’s the second unit going out at night taking those.
1085
00:49:44.300 –> 00:49:46.100
Oh, the sleepover was the night time.
1086
00:49:46.260 –> 00:49:47.120
Yeah, yeah, yeah.
1087
00:49:47.260 –> 00:49:49.400
You know, that was me when I was.
1088
00:49:49.560 –> 00:49:51.670
Yeah, I just went off and did that because I was.
1089
00:49:52.300 –> 00:49:53.440
That’s what I did at the time.
1090
00:49:53.700 –> 00:49:55.220
You were the second crew at the time.
1091
00:49:55.220 –> 00:49:57.740
This is before you know, I was a crew, but I would just disappear
1092
00:49:57.740 –> 00:49:59.460
from me and you know, because it’d be like a location
1093
00:49:59.460 –> 00:50:00.400
where they only need one camera.
1094
00:50:00.400 –> 00:50:03.020
So I say, look, I’ll just go shoot, find some stuff to shoot.
1095
00:50:03.020 –> 00:50:03.380
Oh, cool.
1096
00:50:04.980 –> 00:50:07.400
So I would run off with the camera and kind of assistant,
1097
00:50:07.540 –> 00:50:10.740
a couple of assistants and location guy and go, you know.
1098
00:50:10.800 –> 00:50:12.960
Well, Jeff says, tell her she did an amazing job.
1099
00:50:13.160 –> 00:50:14.400
Casey says props to her.
1100
00:50:14.520 –> 00:50:17.300
So, yeah, I mean, there’s a lot of love for for the for those shots.
1101
00:50:18.460 –> 00:50:20.940
Yes. Here’s a question that I really love.
1102
00:50:21.900 –> 00:50:22.620
Billy said.
1103
00:50:22.620 –> 00:50:26.220
Joey asks, he’s listened to enough episodes by now.
1104
00:50:26.240 –> 00:50:29.380
Who is his favorite host of the of the produce stand?
1105
00:50:30.940 –> 00:50:32.620
Oh, come on.
1106
00:50:33.580 –> 00:50:34.980
It’s all right.
1107
00:50:35.260 –> 00:50:37.680
The future of a beer on my deck is in this answer.
1108
00:50:39.460 –> 00:50:41.160
I promise I’m going to have a beer on your deck.
1109
00:50:41.420 –> 00:50:43.700
If he doesn’t say if he doesn’t say victory,
1110
00:50:43.760 –> 00:50:45.960
he might run into an angry Victor at the gym.
1111
00:50:47.980 –> 00:50:51.820
But you know what, Victor, I know you might be taller than than Billy is.
1112
00:50:51.820 –> 00:50:55.300
I don’t know if you are or not, but Billy is one of the only people
1113
00:50:55.300 –> 00:50:58.220
in all of Letter, Kenny Cast, who’s actually been in a fight
1114
00:50:58.220 –> 00:51:01.080
because we we have photographic evidence of that.
1115
00:51:01.160 –> 00:51:02.060
Sure. Oh, yeah.
1116
00:51:02.160 –> 00:51:02.540
You’re broken.
1117
00:51:04.600 –> 00:51:06.600
No broken fingers this round on.
1118
00:51:06.800 –> 00:51:09.520
Oh, no, no, no, no teeth marks on my hand.
1119
00:51:10.980 –> 00:51:14.520
Yeah, we found, I mean, while we were there
1120
00:51:14.520 –> 00:51:17.600
and if people did notice us with our T-shirts or whatever,
1121
00:51:17.820 –> 00:51:19.260
taking pictures and find out.
1122
00:51:19.320 –> 00:51:21.080
Well, first they ask, are you with Letter, Kenny?
1123
00:51:21.080 –> 00:51:22.180
We’re like, no, we’re not.
1124
00:51:23.100 –> 00:51:26.140
But to to a person, everyone was very appreciative
1125
00:51:26.140 –> 00:51:30.940
of what Letter, Kenny and Shorzy have done for the city of Sudbury.
1126
00:51:31.460 –> 00:51:33.880
Yeah, well, they’re really nice people, you know, and we try
1127
00:51:33.880 –> 00:51:36.460
and be really nice back, you know what I mean?
1128
00:51:36.620 –> 00:51:37.700
They’re the salt of the earth people.
1129
00:51:37.780 –> 00:51:40.080
Like I remember being, you know, people waving me through
1130
00:51:40.080 –> 00:51:42.420
to go to Tim Hortons, you know, like in the morning, we have a coffee.
1131
00:51:42.580 –> 00:51:44.400
They’re waving me in my car and I’m like,
1132
00:51:45.040 –> 00:51:46.760
I can try to be giving me the finger.
1133
00:51:46.760 –> 00:51:47.780
Oh, I know, really?
1134
00:51:48.040 –> 00:51:50.500
You know, like cutting in here and they’re like waving you.
1135
00:51:50.500 –> 00:51:52.260
Come on, come on. They’ll pay for your coffee.
1136
00:51:52.420 –> 00:51:53.800
You’ve got to think, well, no, sir.
1137
00:51:53.860 –> 00:51:55.680
The person in front of you pay for your coffee is like, what?
1138
00:51:56.500 –> 00:51:57.200
Yeah, serious.
1139
00:51:58.180 –> 00:51:59.820
Yeah, it’s just super nice people.
1140
00:51:59.940 –> 00:52:02.680
All the cops know me, you know, good and bad.
1141
00:52:02.800 –> 00:52:05.980
Yeah, I was going to say, is that a good thing?
1142
00:52:06.780 –> 00:52:08.540
Got a reputation there for the permits.
1143
00:52:08.660 –> 00:52:10.040
They’re shutting down the streets, right?
1144
00:52:10.440 –> 00:52:12.860
They’re driving up the street and the cops start to stop me
1145
00:52:12.860 –> 00:52:14.600
from this truck turning and says, oh, it’s you.
1146
00:52:14.600 –> 00:52:16.580
Oh, go ahead. I’m like, what?
1147
00:52:18.700 –> 00:52:20.740
You guys have the keys to the city now.
1148
00:52:22.260 –> 00:52:23.700
It’s funny, I would shoot people.
1149
00:52:24.040 –> 00:52:25.540
Well, you get respect back again.
1150
00:52:25.640 –> 00:52:26.800
Absolutely. Yeah, that’s it.
1151
00:52:26.800 –> 00:52:29.520
It’s true. Like I was like, it wasn’t hard to find anyone
1152
00:52:29.520 –> 00:52:33.780
who had had some form of interaction with the with the production.
1153
00:52:34.100 –> 00:52:35.460
And it was always positive.
1154
00:52:36.260 –> 00:52:39.800
Even our our the lady that served us in the restaurant.
1155
00:52:40.820 –> 00:52:44.500
She was a she was on the on one of the episodes.
1156
00:52:44.500 –> 00:52:48.960
Yeah, she was an extra that did a bit of a stroking motion.
1157
00:52:50.240 –> 00:52:52.140
Oh, yeah, yeah, yeah, yeah.
1158
00:52:52.260 –> 00:52:54.240
Season 11. Is that right?
1159
00:52:54.620 –> 00:52:57.780
No, not 11 then. Yeah, nine or 10.
1160
00:52:57.920 –> 00:53:00.120
Yeah, with gay with the Gaylor scene with Gail’s talk.
1161
00:53:00.220 –> 00:53:01.620
Gail’s talking about Dickens.
1162
00:53:01.720 –> 00:53:04.280
Oh, yeah. Doing this. Yeah, yeah, exactly.
1163
00:53:05.480 –> 00:53:07.740
She was quite embarrassed to tell us what scene she was in.
1164
00:53:07.740 –> 00:53:09.060
And then we finally got it out of her.
1165
00:53:09.120 –> 00:53:10.400
And it was a good laugh.
1166
00:53:10.860 –> 00:53:14.380
I lose track because because that’s someone who shot two seasons, right?
1167
00:53:14.380 –> 00:53:17.920
So I sometimes I forget which episodes of air. Right. Right. Yeah.
1168
00:53:18.100 –> 00:53:19.560
Yeah. Don’t slip, Billy. Don’t slip.
1169
00:53:19.720 –> 00:53:21.920
We’re not here. We’re not here to make a trip.
1170
00:53:23.360 –> 00:53:25.640
We know that season 11 is coming out soon.
1171
00:53:25.700 –> 00:53:26.740
You don’t have to say anything.
1172
00:53:28.540 –> 00:53:29.420
Yeah. OK.
1173
00:53:29.500 –> 00:53:31.880
Here’s a question from our buddy, Scott Hebert.
1174
00:53:32.000 –> 00:53:36.480
He asks, your eyes see the world in a way mine are not trained to.
1175
00:53:36.620 –> 00:53:39.760
So poetic. What’s the scene in popular cinema?
1176
00:53:39.800 –> 00:53:41.820
Oh, this is kind of like Stephen’s question
1177
00:53:41.820 –> 00:53:44.740
that you’d like to educate the TPS masses on.
1178
00:53:45.880 –> 00:53:48.720
Maybe a shot that I don’t understand how technically difficult it was.
1179
00:53:49.340 –> 00:53:51.180
Yeah. I mean, again, back to like,
1180
00:53:52.220 –> 00:53:54.820
well, you already kind of mentioned, you know, a director that you,
1181
00:53:54.820 –> 00:53:57.840
you know, you looked up to or that you appreciated his work.
1182
00:53:59.780 –> 00:54:02.840
Can you I mean, is there any movie or anything that you can think of?
1183
00:54:02.920 –> 00:54:06.400
It’s like like that’s one of my favorite looking films or TV shows.
1184
00:54:08.000 –> 00:54:10.900
I guess I mean, I just know I like something.
1185
00:54:11.300 –> 00:54:13.360
On the top of my head, no, I don’t really have one.
1186
00:54:13.480 –> 00:54:14.860
I mean, I like the original Alien a lot.
1187
00:54:14.920 –> 00:54:16.520
I like the original Blade Runner a lot.
1188
00:54:17.600 –> 00:54:20.460
As far as TV shows, I mean, X-Files started good.
1189
00:54:20.500 –> 00:54:22.440
It got a little murky by the end.
1190
00:54:24.400 –> 00:54:27.180
I don’t know. I just watch things in their own credit, on their own value.
1191
00:54:27.380 –> 00:54:31.400
I know when I don’t like something, you know, like a few minutes.
1192
00:54:31.600 –> 00:54:33.020
It’s like, oh, that’s terrible.
1193
00:54:33.300 –> 00:54:34.580
Like, that’s really badly lit.
1194
00:54:34.640 –> 00:54:36.140
Like who the hell would fucking like that one?
1195
00:54:36.700 –> 00:54:39.560
Yeah. Do you find yourself actually turning things off
1196
00:54:39.560 –> 00:54:43.280
that are so poorly done, like you can’t watch it?
1197
00:54:43.420 –> 00:54:45.780
Oh, sometimes I watch them like a slow moving train wreck.
1198
00:54:45.920 –> 00:54:48.140
I guess can’t get any worse.
1199
00:54:48.260 –> 00:54:51.260
I just can’t possibly get any worse.
1200
00:54:51.400 –> 00:54:52.800
So watch it.
1201
00:54:52.820 –> 00:54:55.680
And it’s like, OK, I have to watch it because now it’s out of my system.
1202
00:54:55.680 –> 00:54:56.560
Like I’ve seen the whole thing.
1203
00:54:57.060 –> 00:54:58.440
And then, you know.
1204
00:54:58.960 –> 00:55:00.880
OK, I have a yeah, there’s a train wreck.
1205
00:55:01.120 –> 00:55:02.600
So I have a question, though.
1206
00:55:03.580 –> 00:55:08.400
So can you watch or do you enjoy watching old films like?
1207
00:55:08.400 –> 00:55:11.640
Like the the black and whites, the the old stuff.
1208
00:55:12.480 –> 00:55:14.320
Do those do those bother you?
1209
00:55:14.320 –> 00:55:18.160
Because the camera just doesn’t compare to today’s
1210
00:55:19.460 –> 00:55:21.780
technology or advancements and stuff.
1211
00:55:21.860 –> 00:55:24.280
Or do you enjoy it for what it is?
1212
00:55:24.420 –> 00:55:25.220
I enjoy it for what it is.
1213
00:55:25.280 –> 00:55:28.560
I think I think a lot of the skill has been lost over the years personally
1214
00:55:28.560 –> 00:55:30.800
because someone who started in the film medium era
1215
00:55:30.800 –> 00:55:33.200
and and then ended up in the digital media era.
1216
00:55:33.460 –> 00:55:37.220
I think Knight used to be more like I’ve done a day for night film.
1217
00:55:37.220 –> 00:55:40.780
Like that’s the oldest how they did it, because the ASA on the ISO
1218
00:55:40.780 –> 00:55:45.400
on the old film start was so slow that you had to do things day for night
1219
00:55:45.400 –> 00:55:46.500
or you just didn’t get an exposure.
1220
00:55:46.520 –> 00:55:49.660
You just couldn’t possibly have enough light unless you’re in a studio.
1221
00:55:50.000 –> 00:55:52.300
So I’ve done movies like that, like day for night.
1222
00:55:52.300 –> 00:55:54.260
And you don’t see sky and two stops under.
1223
00:55:54.360 –> 00:55:55.420
It’s all black and white.
1224
00:55:55.440 –> 00:55:59.200
And I did it with color films like Michael McLaughlin, Randy Quaid.
1225
00:56:00.460 –> 00:56:03.180
But I think a lot of the old
1226
00:56:03.700 –> 00:56:06.560
ways of showing night is really changed.
1227
00:56:06.560 –> 00:56:08.940
And now it’s just exposed things down, right?
1228
00:56:09.040 –> 00:56:12.440
Because the latitude of digital cameras is like seven stops or nine stops.
1229
00:56:12.460 –> 00:56:14.820
So it’s like you just take things right down to nothing.
1230
00:56:15.220 –> 00:56:17.920
But I think that’s kind of been lost a little bit.
1231
00:56:19.800 –> 00:56:21.700
Old school filmmakers, you know.
1232
00:56:21.800 –> 00:56:22.440
What was that?
1233
00:56:22.720 –> 00:56:23.800
I think it was a Bruce Willis.
1234
00:56:23.860 –> 00:56:25.740
They did that black and white.
1235
00:56:28.340 –> 00:56:31.160
Geez, was it like in the old Sin City Sin City?
1236
00:56:31.500 –> 00:56:33.180
Not Sin City. I’m thinking.
1237
00:56:33.740 –> 00:56:36.660
No, no, I remember the last black white episode of
1238
00:56:37.680 –> 00:56:39.640
the movie, the show he did with Cybill Shepherd.
1239
00:56:40.080 –> 00:56:41.580
Oh, Moonlighting, Moonlighting.
1240
00:56:41.680 –> 00:56:43.240
There was a black and white episode of that.
1241
00:56:43.480 –> 00:56:44.400
Yeah, actually, I just watched it.
1242
00:56:44.620 –> 00:56:47.100
So, yeah, Trevor Risk and I were we’re doing
1243
00:56:47.100 –> 00:56:48.440
having the back and forth on Twitter.
1244
00:56:48.500 –> 00:56:50.920
And we were talking about Moonlighting and that triggered me.
1245
00:56:51.000 –> 00:56:53.520
And I had to go back and watch the original episodes.
1246
00:56:53.860 –> 00:56:56.120
And he’s a cool guy, Bruce, by the way, Bruce Willis.
1247
00:56:56.200 –> 00:56:58.860
Yeah, it’s kind of sad what’s happened to him now.
1248
00:56:59.000 –> 00:57:00.560
But yes, it is. Yeah.
1249
00:57:00.560 –> 00:57:03.880
Anyway, Moonlighting is still a fun show.
1250
00:57:04.180 –> 00:57:05.980
And I think it’s in the.
1251
00:57:05.980 –> 00:57:08.880
Pilot or the second episode or whatever,
1252
00:57:09.160 –> 00:57:11.540
is a very young, young Tim Robbins.
1253
00:57:12.660 –> 00:57:15.360
And it’s it’s kind of hilarious to see some of these actors
1254
00:57:15.360 –> 00:57:16.780
in those early shows.
1255
00:57:17.260 –> 00:57:20.700
But yeah, the black and white, was it Hudson Hawk or something like that?
1256
00:57:20.900 –> 00:57:22.440
Black and white. Maybe.
1257
00:57:22.680 –> 00:57:24.000
Yeah, that rings a bell.
1258
00:57:24.180 –> 00:57:25.340
Bruce Willis, I don’t know.
1259
00:57:25.500 –> 00:57:27.980
Yeah, I know Hudson Hawk rings a bell for sure.
1260
00:57:28.920 –> 00:57:31.440
But I remember him coming up to me and the shooting of Reds.
1261
00:57:31.460 –> 00:57:34.340
And he’s like, no, hey, quick, do you know any Russian?
1262
00:57:34.420 –> 00:57:35.200
I’m like, yeah.
1263
00:57:35.460 –> 00:57:37.840
And let’s walk away from these and look to me and start laughing.
1264
00:57:38.320 –> 00:57:39.500
Right. Yeah, he’s great.
1265
00:57:40.400 –> 00:57:43.140
I think device says it’s last man standing.
1266
00:57:44.320 –> 00:57:45.660
Yeah, last man standing.
1267
00:57:45.800 –> 00:57:46.480
That’s what I was thinking.
1268
00:57:46.760 –> 00:57:48.520
I don’t know why I remember it.
1269
00:57:48.760 –> 00:57:51.840
Maybe the whole movie or part of it was in black and white.
1270
00:57:52.100 –> 00:57:54.100
I could be wrong. It’s been a long time.
1271
00:57:54.260 –> 00:57:56.880
But anyway, brought back a memory.
1272
00:57:58.200 –> 00:57:59.240
Partial memory.
1273
00:57:59.460 –> 00:58:00.540
Super nice guy.
1274
00:58:01.420 –> 00:58:03.300
OK, Michael Fox, super nice guy.
1275
00:58:03.460 –> 00:58:05.180
You know, that was him too.
1276
00:58:05.360 –> 00:58:09.200
Like I knew him back when, you know, and it’s like what did you work on with him?
1277
00:58:10.000 –> 00:58:12.500
I remember we were doing a show called
1278
00:58:12.500 –> 00:58:15.300
Counter-Strike with Chris Plummer way back when I was a Gavuram.
1279
00:58:16.540 –> 00:58:20.120
And Chris Plummer was the lead and we’re shooting it in Yorkville.
1280
00:58:20.540 –> 00:58:24.180
And we’re having the Toronto had the All-Star Game Baseball.
1281
00:58:24.840 –> 00:58:27.300
I remember we’re shooting in Yorkville and Michael J.
1282
00:58:27.400 –> 00:58:32.600
Fox walks by and he’s half in the bag and he says, Hey, can I always want to push the dolly?
1283
00:58:32.620 –> 00:58:33.400
Can I push the dolly?
1284
00:58:33.400 –> 00:58:34.680
So I thought, OK, nice to share.
1285
00:58:34.820 –> 00:58:35.840
Fuck, you know, let’s push the dolly.
1286
00:58:35.960 –> 00:58:38.400
So he turns his head around backwards and gets on the dolly.
1287
00:58:38.400 –> 00:58:39.300
We just kind of shield him.
1288
00:58:39.400 –> 00:58:40.660
So he probably doesn’t see him.
1289
00:58:41.040 –> 00:58:43.780
He has a dolly shot and I keep kind of put my boot on the track,
1290
00:58:43.880 –> 00:58:45.520
keep going right off the end of it.
1291
00:58:46.920 –> 00:58:49.980
And in a couple of takes and he’s like, oh, it’s fucking great.
1292
00:58:50.280 –> 00:58:51.400
Like that was so much fun.
1293
00:58:51.500 –> 00:58:52.540
And people started to notice who he was.
1294
00:58:52.640 –> 00:58:53.480
He was OK, thanks, guys.
1295
00:58:53.480 –> 00:58:54.460
Like, I’m out of here.
1296
00:58:54.500 –> 00:58:57.900
And then I work with them years later on Designated Survivor.
1297
00:58:58.140 –> 00:58:58.520
Oh, OK.
1298
00:58:58.680 –> 00:58:59.400
Mind them in that news.
1299
00:58:59.520 –> 00:59:00.340
Like, oh, that’s funny.
1300
00:59:01.120 –> 00:59:05.080
But yeah, he was such he was so small, like he was like a tiny guy.
1301
00:59:05.340 –> 00:59:05.800
Yeah, yeah.
1302
00:59:06.340 –> 00:59:07.840
I love Designated Survivor.
1303
00:59:07.920 –> 00:59:10.240
I don’t understand why that show didn’t run longer.
1304
00:59:12.100 –> 00:59:15.040
Was fun to work on in a bunch of days on it.
1305
00:59:15.660 –> 00:59:17.460
But all right, well, I’m out of questions,
1306
00:59:17.480 –> 00:59:19.540
but I want to know, drop some names, Billy.
1307
00:59:19.540 –> 00:59:20.160
Come on.
1308
00:59:20.160 –> 00:59:23.220
Like you’ve you’ve dropped Bruce Willis and Michael J.
1309
00:59:23.320 –> 00:59:25.660
Fox, who are both like two of my favorites.
1310
00:59:25.940 –> 00:59:28.440
Who else have you worked with that would be like exciting?
1311
00:59:29.680 –> 00:59:31.220
Who do I work with? Oh, God.
1312
00:59:31.580 –> 00:59:32.140
And Christopher Plummer.
1313
00:59:32.300 –> 00:59:36.320
I mean, that’s that’s a former Walter Mathau was.
1314
00:59:36.640 –> 00:59:37.700
Oh, I love him.
1315
00:59:38.120 –> 00:59:41.700
Yeah. Seven weeks with Walter Mathau and Harry Morgan and Stephanie Zimbalist
1316
00:59:41.700 –> 00:59:43.720
on a movie called In the Small Town.
1317
00:59:43.880 –> 00:59:46.220
Back when Movie of the Weeks was 35 days shooting.
1318
00:59:46.280 –> 00:59:48.340
Wow. CBS Movie of the Week.
1319
00:59:48.340 –> 00:59:50.360
They were pretty, pretty cool.
1320
00:59:52.260 –> 00:59:53.760
Just yeah, you just run into people.
1321
00:59:53.800 –> 00:59:56.360
You just know people who are famous.
1322
00:59:56.480 –> 00:59:57.620
I don’t know, Helen Mirren.
1323
00:59:57.880 –> 00:59:59.020
Yeah, a couple of movies with Helen.
1324
00:59:59.220 –> 01:00:00.560
Helen’s a sweetheart, you know.
1325
01:00:00.760 –> 01:00:03.300
We love and then and then you go back like, I mean, probably
1326
01:00:03.300 –> 01:00:04.860
people you wouldn’t even realize at the time,
1327
01:00:04.960 –> 01:00:06.540
but like you’re like Jeremy Renner from like senior.
1328
01:00:06.780 –> 01:00:09.260
Oh, I know. Now he’s a big star. Right.
1329
01:00:10.280 –> 01:00:11.160
I know it’s pretty funny.
1330
01:00:11.780 –> 01:00:14.500
Is there anybody that you were surprised became a big star,
1331
01:00:14.500 –> 01:00:16.680
like after maybe working with them early in their career,
1332
01:00:16.680 –> 01:00:18.340
not surprised in a bad way.
1333
01:00:18.420 –> 01:00:18.880
But you know what I mean?
1334
01:00:19.380 –> 01:00:22.440
Like or pleased about pleased that they became a big star.
1335
01:00:23.760 –> 01:00:24.960
I don’t know.
1336
01:00:27.280 –> 01:00:31.000
That much of a few women who became like, you know, fairly famous,
1337
01:00:31.000 –> 01:00:34.180
you know, but I work with them really young when they were young, you know.
1338
01:00:34.640 –> 01:00:36.340
But I don’t know, really.
1339
01:00:36.400 –> 01:00:37.940
I mean, it’s another job on set.
1340
01:00:37.980 –> 01:00:41.880
Acting is just another job that can be, you know,
1341
01:00:42.020 –> 01:00:44.640
and if you have you become good at your craft and you have a long career.
1342
01:00:44.680 –> 01:00:46.220
Right. If you don’t become good at your craft
1343
01:00:46.220 –> 01:00:49.020
or you’re hard to work with, you have a short career.
1344
01:00:49.160 –> 01:00:51.000
So you must be the easiest person to work with
1345
01:00:51.000 –> 01:00:52.900
because you’ve got quite the resume.
1346
01:00:53.440 –> 01:00:54.320
That’s amazing.
1347
01:00:55.680 –> 01:00:59.040
Do you do you have any fun stories to share with us about
1348
01:00:59.040 –> 01:01:00.300
sure, is he while you were shooting?
1349
01:01:01.900 –> 01:01:03.560
Um, I don’t know.
1350
01:01:04.480 –> 01:01:06.840
Without without without getting yourself in trouble.
1351
01:01:07.360 –> 01:01:09.780
I mean, the whole thing was it was a really nice experience.
1352
01:01:09.780 –> 01:01:12.600
Yeah. I mean, I don’t really have any specific stories.
1353
01:01:12.700 –> 01:01:15.940
I mean, it’s fun to go to work every day when you’re into your job.
1354
01:01:16.520 –> 01:01:18.020
Like I had to describe that.
1355
01:01:18.920 –> 01:01:21.140
But, you know, I don’t do the same thing in any two days.
1356
01:01:21.380 –> 01:01:22.400
Every every day is different.
1357
01:01:23.040 –> 01:01:25.860
So, I mean, I’m the luckiest bastard in the world in that way,
1358
01:01:25.880 –> 01:01:27.640
because I get to go and do different things every day
1359
01:01:27.640 –> 01:01:29.200
with really talented people.
1360
01:01:29.540 –> 01:01:31.560
You know, so it’s one good thing,
1361
01:01:31.720 –> 01:01:34.280
because considering my computer program, my profession, you know, it’s like.
1362
01:01:34.480 –> 01:01:35.840
Well, that’s right. I forgot about that.
1363
01:01:36.200 –> 01:01:36.260
Yeah.
1364
01:01:36.320 –> 01:01:39.660
Telling this business, like, you pay me this much money to do this.
1365
01:01:40.880 –> 01:01:41.560
It’s amazing.
1366
01:01:42.340 –> 01:01:44.080
Actually, here’s a great question to end on.
1367
01:01:44.080 –> 01:01:45.920
Erin, on the live stream, she asked,
1368
01:01:46.180 –> 01:01:49.700
do you have any words of wisdom you can give for somebody who’s
1369
01:01:49.700 –> 01:01:53.160
who wants to get into the maybe into the business?
1370
01:01:53.980 –> 01:01:56.380
Sure. Keep your eyes open and your mouth shut.
1371
01:01:57.220 –> 01:01:59.660
You know, that gets the best way because in any business,
1372
01:01:59.700 –> 01:02:02.540
because you learn from the people who’ve done it a long time
1373
01:02:02.540 –> 01:02:04.160
and you don’t know everything.
1374
01:02:04.220 –> 01:02:05.980
You don’t have an opinion when you start out.
1375
01:02:06.100 –> 01:02:07.160
You may think you have an opinion.
1376
01:02:07.480 –> 01:02:08.300
You don’t have an opinion.
1377
01:02:09.300 –> 01:02:12.300
And instead of asking silly questions, try and figure out
1378
01:02:12.300 –> 01:02:15.480
what someone is doing, the reason someone is doing it, why they’re doing it.
1379
01:02:15.700 –> 01:02:17.460
And then if you really can’t figure it out by yourself,
1380
01:02:17.520 –> 01:02:20.760
then ask them at the opportune time, not in the middle of mayhem.
1381
01:02:20.960 –> 01:02:24.420
Oh, by the way, why, you know, it’s like, pick your spots.
1382
01:02:24.500 –> 01:02:28.880
But I think that the young filmmakers, you spot them a mile away.
1383
01:02:29.220 –> 01:02:30.100
Like you really do.
1384
01:02:30.260 –> 01:02:32.140
The people, the supposers,
1385
01:02:32.220 –> 01:02:34.920
you know, are the time bandits, I call them, you know,
1386
01:02:34.920 –> 01:02:37.060
and they’ll be on the set and they’ll just like ask you.
1387
01:02:37.660 –> 01:02:39.180
They’re not they’re not there to make film.
1388
01:02:39.300 –> 01:02:40.380
They’re there for the social life.
1389
01:02:40.460 –> 01:02:41.860
They’re there because they’re a filmmaker.
1390
01:02:41.860 –> 01:02:45.200
And it’s like they’re there for the status and the precision.
1391
01:02:45.600 –> 01:02:49.240
They’re really never going to go anywhere because there’s a million of those people.
1392
01:02:49.260 –> 01:02:51.600
You know, they come and go. I’ve seen them come and go.
1393
01:02:51.900 –> 01:02:53.540
So go ahead. Go ahead, Victor.
1394
01:02:53.800 –> 01:02:56.000
Yeah, I was going to just ask you a nerdy question
1395
01:02:57.020 –> 01:03:00.080
about the industry, and especially for those starting out.
1396
01:03:00.460 –> 01:03:02.180
So there’s these, I guess, two main
1397
01:03:02.180 –> 01:03:05.400
I don’t know if they’re called unions or associations, but, you know,
1398
01:03:05.400 –> 01:03:08.740
there’s the National Association of Broadcasting Television
1399
01:03:08.740 –> 01:03:13.080
and there’s the other one, International Association for Stage and Theatre.
1400
01:03:13.860 –> 01:03:17.260
Right. So I’m just wondering, like, how do you know which one
1401
01:03:17.260 –> 01:03:18.960
you’re supposed to get associated with?
1402
01:03:19.480 –> 01:03:21.780
And and even with Shorsie and Letter County, like how does
1403
01:03:21.780 –> 01:03:25.320
how’s it decided that are you going to have crews from either this union
1404
01:03:25.320 –> 01:03:27.700
or the other one? How does that all work?
1405
01:03:28.220 –> 01:03:30.840
Well, a camera is always IATC, just period.
1406
01:03:31.000 –> 01:03:33.540
IATC 667, which is also known as the International Cinema
1407
01:03:33.540 –> 01:03:34.580
Target, which is the goal of my member.
1408
01:03:34.780 –> 01:03:37.740
If you want to hire a camera crew, like I have seven people on my crew
1409
01:03:37.740 –> 01:03:43.120
for Shorsie, you can’t you can’t hire someone who’s not a member of IATC 667.
1410
01:03:43.480 –> 01:03:46.940
As far as crew members, I’m also a member of IATC 873,
1411
01:03:47.000 –> 01:03:50.700
which is film technicians as an ex-scafford.
1412
01:03:50.860 –> 01:03:52.420
My son is also a member now.
1413
01:03:52.960 –> 01:03:54.580
My wife’s a member, too, of that.
1414
01:03:54.660 –> 01:03:57.460
But I think if you want to make movies and television shows,
1415
01:03:57.580 –> 01:03:58.300
you have to join IATC.
1416
01:03:58.320 –> 01:04:01.860
And if you want to work for the CBC, then you join the national,
1417
01:04:01.860 –> 01:04:04.540
you know what, QP or the National Association of Broadcasting.
1418
01:04:04.540 –> 01:04:07.260
If you want to work in TV and film, it’s really IATC.
1419
01:04:07.740 –> 01:04:11.380
But do you make that decision or do you just see where your career takes you?
1420
01:04:11.480 –> 01:04:15.680
I guess I’m just trying to, again, put my for those young folks out there
1421
01:04:15.680 –> 01:04:18.800
just getting out of school, like, are you supposed to make a choice
1422
01:04:18.800 –> 01:04:20.380
or or how does that work?
1423
01:04:20.780 –> 01:04:22.700
Well, if you’re going to get work, you have to get permitted.
1424
01:04:23.020 –> 01:04:26.180
So I would become permitted in IATC and say you want to be a props,
1425
01:04:26.200 –> 01:04:30.260
you know, a set dresser or a props person or a grip or electric or whatever.
1426
01:04:30.760 –> 01:04:34.020
If you want to be a camera person, you join, you get a permittee.
1427
01:04:35.400 –> 01:04:36.180
You know, you put an application,
1428
01:04:36.180 –> 01:04:39.240
you get permittee and then after you’re like 100 hours before you can become
1429
01:04:39.240 –> 01:04:43.720
and then you get voted by other members of your viable to become a member.
1430
01:04:44.920 –> 01:04:46.620
There’s a whole process there.
1431
01:04:46.880 –> 01:04:47.800
Oh, there is a process there.
1432
01:04:48.060 –> 01:04:51.440
And I think people do go to film school are crazy.
1433
01:04:52.020 –> 01:04:53.260
Like people go there, like, you know,
1434
01:04:53.980 –> 01:04:57.940
like the Toronto Film Institute, you know, ever to learn how to be a spark.
1435
01:04:58.080 –> 01:05:00.760
They’re not as you go to just go to work and they’ll learn
1436
01:05:00.760 –> 01:05:05.020
way quicker from pros than when you save yourself 20 grand. Right.
1437
01:05:05.020 –> 01:05:05.940
Yeah. Brilliant.
1438
01:05:06.540 –> 01:05:09.180
Film school is just a bunch of watching movies right there.
1439
01:05:10.220 –> 01:05:11.580
Yeah. Yeah. Save your 20 grand.
1440
01:05:11.580 –> 01:05:12.420
You don’t want to be a director.
1441
01:05:12.620 –> 01:05:15.640
They don’t go to if you’re going to serious, go to university.
1442
01:05:15.740 –> 01:05:18.260
But even then, you know, it’s like if you want to be a director,
1443
01:05:18.400 –> 01:05:21.020
go just go make films like just do it.
1444
01:05:21.020 –> 01:05:23.040
Just start. Just start doing it.
1445
01:05:23.060 –> 01:05:24.800
I mean, you’re not getting any younger.
1446
01:05:25.000 –> 01:05:27.920
The time to do it is when you’re young. Yeah. You know.
1447
01:05:28.760 –> 01:05:29.500
That’s amazing.
1448
01:05:30.320 –> 01:05:31.460
Matt, do you have any other questions?
1449
01:05:32.380 –> 01:05:33.140
No, no question.
1450
01:05:33.140 –> 01:05:35.220
I mean, thanks, Billy, for coming out, man.
1451
01:05:35.980 –> 01:05:36.980
Congratulations on Shorzy.
1452
01:05:37.320 –> 01:05:39.180
It’s thank you. It really is superb.
1453
01:05:39.660 –> 01:05:42.800
I we always joked and I think you listened to a few of our things back.
1454
01:05:42.980 –> 01:05:45.600
We were we were all, I would say, skeptical,
1455
01:05:45.600 –> 01:05:49.120
but hopeful that it was going to be something really cool.
1456
01:05:49.780 –> 01:05:51.080
Right. Yeah.
1457
01:05:51.080 –> 01:05:52.920
I mean, like, how do you take a character like Shorzy
1458
01:05:52.920 –> 01:05:56.660
when you knew nothing about just an asshole and then make a whole show about it?
1459
01:05:56.860 –> 01:05:58.600
So and it pulled off.
1460
01:05:58.680 –> 01:06:01.700
And I remember when we had you and you were very excited about,
1461
01:06:01.700 –> 01:06:05.220
you know, what was coming and you kept saying we’re going to make great
1462
01:06:05.220 –> 01:06:07.080
televisions, you truly did.
1463
01:06:07.900 –> 01:06:12.200
And I like I said, I binge watched the whole show about four times now
1464
01:06:12.200 –> 01:06:13.660
and I’m enjoying it more every time.
1465
01:06:13.860 –> 01:06:17.540
There’s little things I notice each time that I didn’t catch before.
1466
01:06:18.060 –> 01:06:20.240
And yeah, I know the announcement isn’t official.
1467
01:06:20.680 –> 01:06:21.900
You haven’t said anything official.
1468
01:06:22.840 –> 01:06:26.580
We’re all just hoping and assuming it’s coming. Yeah.
1469
01:06:26.880 –> 01:06:27.920
But we can’t wait.
1470
01:06:28.080 –> 01:06:31.400
We can just keep doing what you guys fucking do because it’s we love it.
1471
01:06:31.400 –> 01:06:33.560
There’s a whole community that is behind you
1472
01:06:33.560 –> 01:06:35.440
and just excited to see what you guys do next.
1473
01:06:35.740 –> 01:06:36.760
Thank you very much. Absolutely.
1474
01:06:36.860 –> 01:06:37.700
Victor, you have anything?
1475
01:06:38.420 –> 01:06:39.620
Yeah, same.
1476
01:06:40.040 –> 01:06:43.480
I mean, you know, Shorzy, I I’ve learned to love Letter
1477
01:06:43.480 –> 01:06:48.040
Kenny because I was pulled in, pulled into kind of this podcast
1478
01:06:48.040 –> 01:06:51.920
and by these DJs and and hey, come watch this show.
1479
01:06:52.120 –> 01:06:54.240
And at first I wasn’t sure what the hell I was watching.
1480
01:06:55.220 –> 01:06:58.900
And and and and you know, it’s a fantastic show.
1481
01:06:58.900 –> 01:07:01.500
And I’m certainly looking forward to the next season.
1482
01:07:02.020 –> 01:07:04.200
But for me, Shorzy is my jam.
1483
01:07:04.620 –> 01:07:07.080
And that’s that’s it.
1484
01:07:07.140 –> 01:07:10.240
I hope that show goes on for, you know, 12 seasons.
1485
01:07:10.800 –> 01:07:12.660
It’s just absolutely incredible.
1486
01:07:13.220 –> 01:07:14.760
And I’m loving it.
1487
01:07:14.760 –> 01:07:17.360
And I just want to thank you for everything that you’ve done for the show.
1488
01:07:17.700 –> 01:07:20.220
Oh, thank you. Thank you.
1489
01:07:20.780 –> 01:07:24.660
Genuinely, like just so amazing to speak with you tonight.
1490
01:07:24.800 –> 01:07:27.540
Thank you so much for for your time and coming out
1491
01:07:27.540 –> 01:07:32.100
and sharing all of your just magic with us,
1492
01:07:32.120 –> 01:07:33.260
because I’m going to call it that.
1493
01:07:33.420 –> 01:07:37.720
It just in my eyes, it’s just I don’t know how you do what you do,
1494
01:07:37.720 –> 01:07:38.760
but you do it great.
1495
01:07:39.000 –> 01:07:41.240
You just truly are amazing.
1496
01:07:41.260 –> 01:07:43.220
And thank you so much.
1497
01:07:43.780 –> 01:07:45.200
Shorzy has been wonderful to watch.
1498
01:07:45.440 –> 01:07:48.140
And I agree with what Matt and Victor are saying.
1499
01:07:48.980 –> 01:07:53.280
Just can’t wait to see more crossing our fingers that that it’s going to happen.
1500
01:07:54.320 –> 01:07:55.800
Thank you. Thank you so much.
1501
01:07:56.380 –> 01:07:57.060
I agree, Billy.
1502
01:07:57.260 –> 01:07:59.000
By the way, I said that was the last question,
1503
01:07:59.020 –> 01:08:02.620
but there is an even more important question that just came up in the live stream.
1504
01:08:03.040 –> 01:08:05.780
Do you use a bowl when you eat a stick?
1505
01:08:07.300 –> 01:08:09.380
Are you team bowl or no bowl?
1506
01:08:10.080 –> 01:08:11.240
I’m a no bowl guy.
1507
01:08:11.620 –> 01:08:12.900
Attaboy, attaboy.
1508
01:08:13.080 –> 01:08:15.180
I don’t know why this is still a debate.
1509
01:08:15.200 –> 01:08:16.620
I know, right? I don’t understand.
1510
01:08:18.399 –> 01:08:19.660
We’re not children here.
1511
01:08:21.100 –> 01:08:22.600
Yeah, we are. Yeah.
1512
01:08:22.600 –> 01:08:26.740
Anyway, I echo what all my fellow hosts are saying.
1513
01:08:27.160 –> 01:08:30.979
Also, just so you know, I mean, you already know how awesome this community is.
1514
01:08:31.200 –> 01:08:34.779
But you may not what you may not know is that there’s actually a group
1515
01:08:34.779 –> 01:08:39.979
of American Shorzy fans planning a trip up to Sudbury.
1516
01:08:40.479 –> 01:08:43.920
This December for Shorzy night.
1517
01:08:44.420 –> 01:08:48.920
They you don’t understand how excited they are to come up to Sudbury.
1518
01:08:49.399 –> 01:08:52.260
They’re coming from all over the place and they’re meeting.
1519
01:08:52.260 –> 01:08:53.240
No, it’s pretty crazy.
1520
01:08:53.500 –> 01:08:55.859
Yeah, they’re meeting in Toronto and we’re going to have dinner with them,
1521
01:08:56.100 –> 01:08:58.620
hopefully drinks with them before they head up to Sudbury.
1522
01:08:58.680 –> 01:09:00.200
And it’s going to be an amazing time.
1523
01:09:00.439 –> 01:09:01.779
It’s a good time to Sudbury Wolves game.
1524
01:09:01.899 –> 01:09:02.899
I’ve been to a few. Yeah.
1525
01:09:03.880 –> 01:09:07.439
If somebody did ask, is there any possibility that you might be at that game?
1526
01:09:08.460 –> 01:09:11.380
I doubt it. I mean, I’ve been to games and we have with all the cast
1527
01:09:11.380 –> 01:09:14.340
from Shorzy went on these to go in front Saturday nights,
1528
01:09:14.340 –> 01:09:18.500
you know, Friday nights because we didn’t was it Friday or?
1529
01:09:18.899 –> 01:09:20.399
Yeah, because the bowls play Friday night.
1530
01:09:21.000 –> 01:09:22.880
Because we did. So we go on Friday night.
1531
01:09:23.319 –> 01:09:26.560
That’s why we that’s why our arena schedule had to be like Sunday to Thursday.
1532
01:09:27.160 –> 01:09:28.560
I think we were there for like three weeks.
1533
01:09:28.580 –> 01:09:32.720
I can attest to that because we came there on Friday and and there was a
1534
01:09:32.720 –> 01:09:35.160
everybody. The streets were empty.
1535
01:09:35.359 –> 01:09:37.120
We couldn’t figure out the streets were empty.
1536
01:09:37.140 –> 01:09:38.580
And then we walked by the arena.
1537
01:09:39.080 –> 01:09:42.439
I swear, swear to you, everybody in the city was at that arena.
1538
01:09:44.439 –> 01:09:45.920
They packed the place.
1539
01:09:46.140 –> 01:09:46.979
Bombs and seats, right?
1540
01:09:47.040 –> 01:09:48.279
Bombs and seats.
1541
01:09:49.240 –> 01:09:51.260
So thank you so much, Billy.
1542
01:09:51.399 –> 01:09:54.600
Do you have anything you want to say to the listeners before we we?
1543
01:09:54.740 –> 01:09:55.600
No, not really.
1544
01:09:55.760 –> 01:09:57.620
I mean, all the community.
1545
01:09:58.860 –> 01:10:02.400
I hear you’re all fantastic people and really are.
1546
01:10:02.480 –> 01:10:06.340
I got to know a lot of you through the through the Twitter and
1547
01:10:09.040 –> 01:10:11.040
my one social media thing.
1548
01:10:11.520 –> 01:10:12.960
Yes. But, you know, everyone’s great.
1549
01:10:13.080 –> 01:10:15.180
I’m glad everyone’s such a big fan of the show.
1550
01:10:15.180 –> 01:10:18.640
And I’m honored that you, you know, really like my work.
1551
01:10:19.940 –> 01:10:21.960
I just I’m just an old fart.
1552
01:10:22.500 –> 01:10:25.000
No, you’re not. You’re you’re you’re you’re a good guy.
1553
01:10:25.080 –> 01:10:26.020
You’re a really good guy, Billy.
1554
01:10:26.300 –> 01:10:29.880
We’re going to play us off here with a song that you picked from Shorzy.
1555
01:10:30.940 –> 01:10:36.140
This one is called Born to Be Alive by Patrick Hernandez.
1556
01:10:40.970 –> 01:10:44.530
Picturing Shorzy standing at the corner there, just panting.
1557
01:10:44.830 –> 01:10:47.330
Oh, yeah. Before the brawl.
1558
01:10:47.330 –> 01:10:48.050
And then he goes.
1559
01:10:58.250 –> 01:11:00.310
And that’s all we have for this episode.
1560
01:11:00.330 –> 01:11:03.530
Next week, we will be joined by letter Kenny Memes herself, Shelly.
1561
01:11:03.750 –> 01:11:05.950
She’s going to bring some memes and we’re going to play some.
1562
01:11:06.030 –> 01:11:07.250
Yes, yes, yes. No.
1563
01:11:07.530 –> 01:11:08.690
That’s always a fun time.
1564
01:11:09.250 –> 01:11:11.450
Don’t forget to give our sponsor Dibalka Coffee some love.
1565
01:11:11.590 –> 01:11:13.370
They are at DibalkaCoffee.com right now.
1566
01:11:13.370 –> 01:11:15.690
You can use a promo code produce and for 20 percent off
1567
01:11:15.690 –> 01:11:16.670
any purchase from their site.
1568
01:11:17.030 –> 01:11:20.070
If you’d like to support the podcast, rate us on iTunes, Spotify
1569
01:11:20.070 –> 01:11:22.310
or become a patron, there’s a patron link on our site.
1570
01:11:22.350 –> 01:11:24.310
Twitter profile at produce and pod.
1571
01:11:24.830 –> 01:11:27.790
They’re also on Facebook, Instagram and TikTok at Produce
1572
01:11:27.790 –> 01:11:29.510
and Pod. Thanks for joining us.
1573
01:11:29.570 –> 01:11:31.790
Now we’re going to go boogie on over to the after party
1574
01:11:31.790 –> 01:11:34.350
on behalf of Billy, Victor, Matt, Tanya and myself.
1575
01:11:34.550 –> 01:11:36.290
Thank you for listening. Have a great week.
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