Mick Strawn Interview - Production Designer on Freddy's Nightmares!

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Well, hello everyone, Hello,
and welcome back to Welcome to prime time

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of Freddy's Nightmares podcast. I'm,
of course your host, Deri que Kuto

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here with my good pal double D
Louis Denier. Hello. Hello. Indeed,

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I need to come up with new
ways to mispronounce your name. I

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mean you've you've done middle name mispronunciation
now, I think for like the last

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twenty plus episode. So I think
you're doing okay. Oh, as long

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as you're okay with it. That's
not really mad, but doesn't really matter

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at all. That's fair. Well, Well, we have a special guest

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tonight, Yes we do, and
this is one day that you track down

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for us. Yes I did.
So. Welcoming to the program a man

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who you may not know his name, but you definitely know his body of

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work from Blade in Boogie Knights to
Nightmare and Elms Street three and of course

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Freddy's Nightmares. We are welcoming the
production designer of season one to the show,

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Mixed Drawn Mick. Thank you for
joining us and returning to spring Yes,

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thank you. Yeah. Yeah.
So, uh, something that I've

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always wondered about this is uh so
which Springwood is this? This is uh

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this is Springwood, Ohio from the
Freddie's Knightmer series, which is, uh

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it is ohiook, I mean Ohio. I was I was gonna say,

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you know, I've worked on three
four five TV show. I don't think

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I've even actually ever been in Ohio. Oh wow, Well we're coming to

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you from Ohio right now, right
now. Oh my god. You and

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Hendrick were actually under the same roof
a few weeks back. Yeah, sent

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him a waste landing Cleveland. I
didn't get a chance to stop by introduced

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myself because I was working a table. Yeah, what the hell is that?

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No. I walked by and saw
you a couple of times, you

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know you you know what, I
think that you were almost in a direct

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line between me and taking a piss. That's correct. I was on the

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way to the bathroom. Absolutely,
absolutely, Okay, yeah, because I

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yeah, no, I cause I
mean not to say anything, but I

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kind of remember the uh one of
those faces. No, no, you

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have You're like you're like me,
you have a recognized recognizable hair. Yeah,

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thank you. No. And yeah, so yeah, we were both

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in Cleveland, which is which is, you know, the like the least

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Ohio part of Ohio. Yeah,
that's fair. But we're in We're in

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southwestern Ohio, so we're three hours
diagonally. I think I've accidentally driven through

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you. That's fair. I would
not be surprised. I wouldn't be surprised

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either. But yeah, So the
idea, I mean, the idea that

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Springwood is in Ohio is something that
always brings us a chuckle because you know,

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in the original night or Elm Street
there are palm trees in the background,

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and but they do hint that it's
in the Midwest. Can I can

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I can I tell you a dumb
ass story? Absolutely? Wait a minute.

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You know what the thing is is, uh, you wanted me on

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and dumb ass stories is the only
thing I know. So when I was

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when I was on Nightmare on the
Street four, I got called to the

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set one time and uh, and
the DP is like uh. And the

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thing is you have to understand is
as a production designer and an effects designer,

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the only time I'm actually on set, I'm usually in trouble. Uh.

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I mean, I mean I visit
all the time. I'm usually there

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to like bet everybody in and to
make sure that you know that that they're

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not going to destroy my concept.
But then I have to go because I

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have to get the rest of the
show ready to go. Right, So

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I get called the set and and
the dp uh Steve is you know,

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he comes off down off of a
crane, you know, crane comes down.

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I said, okay, what's up, man, I got things to

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do. He goes, mit,
I need, I need you to get

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me one of those uh uh skins, one of those you know, those

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those those uh Midwest skins. We
used to call them a Midwest skin because

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this is how this is how we
used to deal with palm trees all the

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time. Is we would have what
are called these Midwest skins, which was

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like essentially a really bad imitation of
a normal tree that you would wrap around

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that was it was. It was
like this just enormous, like you know,

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uh, I don't know, or
it was made out you know,

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a combination of latex and uh bur
lap, right, and you would just

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wrap it around a palm tree at
the base and it would like and it

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wouldn't look as much like a palm
tree, right. And so uh I

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said, well, I don't understand, you know, because Steve, you're

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you're shooting at night because no,
look, look the camera's right here.

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Go oh oh, well, I
got that, and then I trotted across

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the street and I turned the light
off at the base of the palm tree

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and then got back in my car
and left. So so, if you

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were me, the way to deal
with the Midwest was to just turn the

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lights off. That's a good I
mean I've used that method before. Yeah

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you have, yeah, yeah,
yeah. So so if you're in California

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and you're looking a little bit too
much like the Midwest, uh, just

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go by candlelight. I mean,
we have had electricity since two thousand and

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six. But that's what to say. That's such a say. But you

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know, the thing is is you
can't prove it. There he's got that.

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So we we do have the odd
privilege of being the only show that

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focuses on Freddy's nightmares, the night
Reynelm Street t V series. You're the

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often maligned and forgotten tell you,
I can understand that, although I have

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to say that there are a couple
there are a couple of shows out there

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that surprised me for their specificity.
Uh. And by the way, I

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want I want you to know how
impressed even I am that I came up

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with the word specificity. I there
there is there is a podcast out there

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that that is devoted to strays,
which was that cat that weird ass cat

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movie that I did back in you
know, which I will never understand that,

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you know, certainly certainly the critters. I mean, you know there

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there are a lot of specific shows
out there. I must admit though,

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is this has got to be a
bastard child of a thousand uh poor movies.

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Fair and and because so few people
have dived into this, we we've

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gotten to talk to people like we
talked to Jeff Frylick at length about Freddy's

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nightmares and he'd never been he'd never
spoken to anybody except maybe a therapist about

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his time on the show. Let
me tell you, Jeff Friar like has

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sent an awful lot of people to
the therapist, so that that that sounds

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absolutely fair. But yeah, what
what was interesting was the show came about

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for us because I'm sure you know, because you actually mentioned it in Wayne's

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book. This series has been impossible
to find for a long time, like

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you can find bootleg copies and everything
like that. And then what got us

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to do this was screen Box about
a year and a half ago at this

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point announced that they were dropping Freddy's
Nightmares on it, and then I think

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it was what six months later to
it was like two months later, two

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months later to be got the entire
series, and then all of a sudden

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it was readily available to everyone who
could want it. Yeah. Now,

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now I have to ask you a
question though, And and I really haven't

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gone in uh especially recently. I've
been kind of busy. Yeah, Uh,

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are they better looking than all the
weird ass versions that I've seen?

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Uh? They were terrible. Yes, they were fucking terrible. They were

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they were They looked like they looked
like a copy of a VHS you know

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that that somebody uh put on CD
and then just stomped it. We So

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we actually had a funny story about
that was I I had a bootleg that

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I gotten from a con I don't
know, like ten years ago or whatnot,

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and Henrick and I had been wanting
to revisit the series. So I

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brought it over and we watched it, and I was like, it doesn't

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look too bad. And he came
not missing a becos is that guy wearing

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glasses? Tell me, is that
guy in the wes and you were like

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no, And then it cut to
a close up and he was totally wearing

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glasses. There was just that level
of of uh detail was missing. Yeah,

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but to me it looked okay.
The issue. The issue was that

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within a year's time it was gone. So it's back into obscurity again.

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It's like some kind of Disney vault, but for child murderers, back into

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the Disney's vault. But you have
to understand is that was I mean the

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show itself. And Fraley probably said
something about this. The show was one

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of those weird things where it just
kept getting uh bumped over to different production

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companies. And I think in the
end, I'm gonna take a guess that

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the one that we were with was
Lauramar, Right, Yeah, Lauramar were

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the main partner with New Line overall, because that's where Friley came from.

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He was with Lauramar right right.
And and I might say Trylick came in

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with the DP uh cart David Callaway
Uh. And here's the thing. These

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guys basically came from from what I
call modified daytime TV. Yeah. Falcon

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crust uh, Falcon Crest, Falcon
Cress, Falcon, Falcon Crest was was

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essentially, uh, daytime TV shown
at night, right Yeah, and and

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and Callaway came over, and Charlie
came over, and both of these guys

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were Okay, I don't know how
to put this politely, saw put it

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the way that would anyway hacks.
They they were, uh, they were

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daytime TV people, you know.
Dave Callaway's lighting was was what I call

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uh shoot anywhere friendly you know.
What he would do, uh, or

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we used to call it just available
light. He would shoot every available light.

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Yeah, uh. As opposed to
available light, he would shoot every

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available light, you know. I
mean he would put enough light on a

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set that that essentially it would be
easier to shoot quickly, right, Yeah.

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And we would do our best to
sabotage that at all times we would

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shoot. We would we would break
the lights in the coup. Uh we

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I mean the number the number of
fucking plans that we came up with and

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ways that we tried to sabotage that
so that it would be a little bit

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darker, so that we could because
you know, horror films is lit by

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is lit by the mechanics of the
sets itself, right, Yeah, you

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know, I mean, uh,
except for at night. And and and

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I'm totally not a believer in like
WOA, you have to have motivation for

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a light at night and we go, wow, fuck that. I mean,

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but you need to you need to
be able to see but not too

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well, right, Yeah, And
that was my biggest problem. And so

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I used kind of colorful sets that
had deep tones to it to try and

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do anything I could, and and
just out and out sabotage as much as

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possible. And and having watched nearly
the entire series now you can almost see

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the the DP like learning to shoot
horror as he's doing it. Yeah he

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was. Yeah, I mean,
and I kept walking, you know,

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and on the production designer and I'm
like, you know, dude, you're

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really you really are are making this
uh uh look like days of our lives

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and uh and yeah, yeah,
no. The whole the whole thing with

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him was was trying to get him
to like stop that coop. Yeah.

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And and the thing is is,
let me explain what a coop is.

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A coop is when you put a
whole it looks like a chicken coop and

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it's it was literally a box that
they would just line with lights, right,

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and then put it right in the
middle of set and lift it up,

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okay, and that just gives you
a blank, sort of that blank.

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And what it does is it gives
you that blank, super fast shooting

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look that they use for daytime TV. So you know, all the details

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are there. There's no detail that
escapes, that escapes the camera, right

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and and and that to me was
not horror. So we had that battle

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it. But you know what,
we did have a lot of fun because

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we got to do I mean,
I was teaching the guy that when I

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got this show, I had a
carpenter come up to me, come up

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to me, and I literally was
at the end of Nightmare and I'm Street

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four and I looked out and there's
like there was like still some people in

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the building, right, And I
said, Hey, does anybody want to

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be my special effects guy on uh
on this TV show? And Andre Allenson,

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who I can give you the name
of, Yeah, Andre Allenson said,

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oh, fuck, Mack, I'd
love that. And I go,

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okay, well you just you just
you're in school now. And I and

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I I I literally taught them all
the gigs that we had because that was

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primarily mechanical effects. I mean,
we had very few makeup effects other than

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Freddie himself, you know, but
we just played with mechanical effects. We

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did melting walls, we did kinds
of you know, we had things on

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that I remember designing the dental glove
and and you know, you know what

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we used on the dental glove is
is we had a bunch of a beeper

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battery, beeper h motors and and
and so we did we did a copper

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fingers and at the top of the
copper fingers is a just a row of

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beeper motors with those with the blades
that that that I had cut out to

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put on them. So Andre,
Andre was my hero man, you know.

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He came in and then I had
a rotating crew of people who could

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only take it for so long.
And then just because it was it was

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just such a crazy schedule. We
did three hundred and twenty sets in a

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period of eight months. Wow.
And if you'll notice there is one set

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that is always there, is the
living room set. Yeah, it is

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there all the time. We just
we just we put that up and we

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repainted it and twisted it around a
little bit and stuff, but we just

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left it just because it was just
so impossible we just had to have one

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set that just stood because the guys
who were writing it just didn't have any

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concept of you know, they would
write episodes that had twenty six, twenty

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seven sets. You know, you're
going, dude, we're in a ten

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thousand square foot warehouse and we're shooting
these fuckers in you know, four days.

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Stop doing that, right, So, and then we had and then

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we had our little Freddy's Nightmare,
you know, uh sat over in the

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corner his domain's domain. I had
a lot of fun designing that. That

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was that that was a fun and
twisted, little uh piece of work.

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And the great thing about it is
is we put every possible kind of angle

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and twist and weird door weared ass
doorway and wall and and and so that

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you could go in there and just
keep on shooting forever and ever and ever

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and ever and and it would mix
you a round enough so that you know,

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Freddie always looked like he was in
a weird ass place. Well,

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and it worked well. I mean, Freddy's domain look is like the best

212
00:16:52.679 --> 00:16:57.080
looking part of the episodes as far
as like the horror element goes. You

213
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know, it's the most interesting spot. It takes the light the best.

214
00:17:00.440 --> 00:17:06.039
Yeah, absolutely right, right,
But you know, what can I say?

215
00:17:06.079 --> 00:17:07.720
You know, we had a lot
of fun we did We did that

216
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you know, the weird tunnel set
where the everything pulls apart and they're in

217
00:17:11.519 --> 00:17:15.599
the tunnel. Yeah. Yeah,
and you know we had jacks that had

218
00:17:15.640 --> 00:17:18.599
wheels on them so that we could
like pull pull, pull the wheels away

219
00:17:18.640 --> 00:17:23.559
while while while the camera's running stuff, and uh yeah, you know it

220
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was uh, you know, it
was as much fun as you possibly have

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for five thousand dollars per episode.
So and actually that was one of the

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things uh Frileic mentioned when he was
on the program was that at the time,

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that was the cheapest hour of television. Was Freddy's Nightmares was the cheapest

224
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hour of television on mainstream television.
Yeah. I forget the exact amount they

225
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spent, but he said it was
well under a half a million, obviously,

226
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well under half a million dollars an
hour, which was shocking for that

227
00:17:53.440 --> 00:17:56.240
era. Yeah. Yeah, and
by half a million, he meant two

228
00:17:56.279 --> 00:18:00.839
hundred thousand. Het he meant that. He meant that half a million,

229
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not the not the other half of
the half of them. Well, and

230
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I'm sure they also counted a bunch
of other expenses that you would that never

231
00:18:08.160 --> 00:18:12.039
got anywhere near the set to Yeah, yeah, yeah, exactly. Yeah,

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because I mean everybody we've talked about
this has not had any shyness about

233
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the fact that the show was also
a major cash Yeah, there were there

234
00:18:19.799 --> 00:18:23.480
were a lot of elements of that
going on. How did you end up

235
00:18:23.839 --> 00:18:27.279
so obviously you worked on Nightmare el
Stree four and and uh, but how

236
00:18:27.279 --> 00:18:30.720
did you end up on Freddy's Nightmares? Like were you were you summoned by

237
00:18:30.759 --> 00:18:34.400
someone from New Line or how did
that kind of happen? I was told

238
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to go protect it. I mean
I was no. Literally, I'm saying,

239
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hey, go protect our interests.
Sure, well, it makes it

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00:18:44.440 --> 00:18:49.000
makes perfect sense, especially because I
mean on an anthology television series, production

241
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design is pretty important. You like
you would just point out you can't reuse

242
00:18:53.000 --> 00:18:56.200
that much. Yeah, you have
to build new things all the time.

243
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You can't. But I have to
tell you, so you're always seeing the

244
00:19:00.279 --> 00:19:03.559
same the same flats again and again
and again. In fact, in fact,

245
00:19:03.599 --> 00:19:08.000
they would get so fucking heavy that
that from all the paint from all

246
00:19:08.119 --> 00:19:12.680
literally yeah, I've heard there were
Roger Corman sets too. Absolutely, they

247
00:19:12.680 --> 00:19:15.680
would get so they would get so
heavy that you'd have to take them outside

248
00:19:15.720 --> 00:19:19.799
and cut them up. I mean, look, you think I'm kidding about

249
00:19:19.799 --> 00:19:23.359
that, but you know when you
did, there could literally have been some

250
00:19:23.599 --> 00:19:30.519
flats in there that in three hundred
and twenty episodes that that would have been

251
00:19:30.640 --> 00:19:33.759
painted over like forty times. Wow, I believe it, absolutely. Yeah.

252
00:19:33.799 --> 00:19:37.480
And forty forty coats of paint makes
makes an eight foot long flat.

253
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They just can't pick up. I
can tell you from experience. Welcome to

254
00:19:44.920 --> 00:19:56.240
Prime Time. We'll be right back. We're back now, bitch. So

255
00:19:56.480 --> 00:20:00.160
uh, Dave, please, Dave
prepared a better than I asked. We

256
00:20:00.200 --> 00:20:03.920
wanted to. We saw in the
resume that you had in nineteen eighty five.

257
00:20:03.960 --> 00:20:06.400
Now, this is IMDb, and
we know the IMDb is always correct

258
00:20:06.400 --> 00:20:10.799
with everything, Yeah, it's always, But in fact, it's so accurate

259
00:20:10.880 --> 00:20:14.839
with the eighties. Yeah, I'm
sure. So. It says here you

260
00:20:14.880 --> 00:20:17.599
had ten episodes of Tales from the
Dark Side under your belt in eighty five

261
00:20:17.640 --> 00:20:22.559
to eighty six. Just curious as
to what the comparison was between that and

262
00:20:22.559 --> 00:20:26.279
Freddy's Nightmares in regards to the workload
or just the overall design of it,

263
00:20:26.400 --> 00:20:30.640
just the experience. We've never talked
to anybody was on the Dark series.

264
00:20:30.759 --> 00:20:34.759
Yeah. Uh, let's see,
I have to I have to say that

265
00:20:34.839 --> 00:20:42.319
it was actually, uh it was
kind of like a step up production wise.

266
00:20:42.880 --> 00:20:53.039
Uh tails Uh. The Teals from
the Dark Side was a lower budget

267
00:20:53.079 --> 00:21:00.279
than that. Sure, man,
I can't even remember who shot that,

268
00:21:00.960 --> 00:21:07.359
but tells Tells from the Dark Side
with no, no, no, it

269
00:21:07.440 --> 00:21:17.599
was a crazy uh, it was
a crazy Israeli. Uh. I can't

270
00:21:17.599 --> 00:21:25.599
think of his name, Gideon Parrat. I love, I love crazy Israelis.

271
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Uh. You know on Nightmare on
Street three, I had a crazy

272
00:21:29.319 --> 00:21:33.279
uh, crazy Israeli prop team that
Oh my god, you know it's this

273
00:21:33.359 --> 00:21:37.440
woman named Batya. And and you
know when when we we had to uh

274
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make a pig bark at the last
moment, right, the pig barks.

275
00:21:41.640 --> 00:21:45.880
I remember that. Well, the
funny thing about it is the pig wasn't

276
00:21:45.920 --> 00:21:48.559
barking at the beginning. I mean, I wasn't written in the script that

277
00:21:48.599 --> 00:21:52.519
way. And and Bob say walks
in, He goes, hey, you

278
00:21:52.519 --> 00:21:55.920
know what would be great these if
the pig bark And I said, well,

279
00:21:56.279 --> 00:21:57.640
you know that's he and boxing goes, hold on, hold on,

280
00:21:57.799 --> 00:22:04.000
I have this, I I have
this, and she pulls literally pulls out

281
00:22:04.039 --> 00:22:08.960
like a battle fucking knife, right, you know, like like a take

282
00:22:10.079 --> 00:22:15.640
no prisoners and just guts guts the
pig right here goes, you know,

283
00:22:15.799 --> 00:22:22.279
cuts it open and goes, no, it's suns her fucking hand up in

284
00:22:22.359 --> 00:22:25.759
and he goes and I go,
well, we'll cut a hold on the

285
00:22:25.759 --> 00:22:30.720
table up to me. That's how
it's done. Yeah. Hey. And

286
00:22:30.759 --> 00:22:33.160
the great thing is is we had
a guy that we had a guy that

287
00:22:33.279 --> 00:22:37.839
released ten thousand flies that you were
supposed to see. But then the ten

288
00:22:37.880 --> 00:22:45.920
thousand thousand flies immediately uh blined it
towards the production offices and stayed there for

289
00:22:45.960 --> 00:22:51.279
the rest of the show. And
and now the only way that they got

290
00:22:51.319 --> 00:22:56.400
the fly sound it was with sound. So you literally noticed this and you'll

291
00:22:56.400 --> 00:23:02.839
see it mark like that. Then
you hear the sound and there are no

292
00:23:02.920 --> 00:23:11.559
fish. Oh my god. You
know. The thing is is you have

293
00:23:11.599 --> 00:23:17.960
to understand that absolutely everybody that worked
on The Nightmare and Alma Streets three three

294
00:23:18.200 --> 00:23:22.920
four, the TV show, I
mean, we were all working at way

295
00:23:22.960 --> 00:23:30.440
above our normal capacity. Well and
like Tom McLoughlin credited you in Wayne's book,

296
00:23:30.480 --> 00:23:33.039
he says Mick can take a little
and make a lot. He has

297
00:23:33.079 --> 00:23:36.960
such an extraordinary talent. So this
was also shown when we watched the show,

298
00:23:37.000 --> 00:23:38.519
as you said, like with the
sets design, and like Beefy Boy

299
00:23:38.599 --> 00:23:41.720
is like one of our favorite things
to come out of the Night series so

300
00:23:41.759 --> 00:23:48.160
far. Here's the here's the funny
thing, John mclough you're talking John McLoughlin,

301
00:23:48.200 --> 00:23:52.640
Right, yeah, Tom McLoughlin or
Tom mc now now Tom. I

302
00:23:52.799 --> 00:23:59.319
just worked with Tom about five years
ago. And the funny thing about it

303
00:23:59.359 --> 00:24:03.079
is that I was working first a
D I didn't production design, and then

304
00:24:03.119 --> 00:24:08.599
I kind of like started on Vengeance. Yeah, Friday the thirteenth film,

305
00:24:08.799 --> 00:24:15.240
right yeah, And and so as
uh, one day I'm walking out and

306
00:24:15.839 --> 00:24:19.400
some guy goes, hey, I
know you didn't you didn't you build a

307
00:24:21.200 --> 00:24:26.680
didn't you build a a restaurant for
me in a parking lot thirty years ago?

308
00:24:27.920 --> 00:24:33.000
Fuck? Tom, that's right to
me. I eat me. You

309
00:24:33.039 --> 00:24:37.880
can't beat me. Good old beef
Boy and then Cheesy Boy. Oh yeah,

310
00:24:38.039 --> 00:24:41.599
So were you the artist who drew
Beefy Boy? Yeah? Yeah,

311
00:24:41.640 --> 00:24:47.240
it was all much. That's awesome, that's so cool. So what if

312
00:24:47.240 --> 00:24:49.839
you could give us a little bit
more info on production designer? What exactly

313
00:24:49.960 --> 00:24:55.480
is the task at hand with that
when they give you either the screenplays or

314
00:24:55.519 --> 00:24:57.839
whatever, what what exactly is the
starting on that to the fruition of the

315
00:24:57.880 --> 00:25:06.960
final on what we see on the
series A boy. Uh? Okay,

316
00:25:07.000 --> 00:25:14.519
are you asking the is this definition
of a production designer in general? Yeah?

317
00:25:14.599 --> 00:25:17.440
You can give us the definition and
then if you want to church it

318
00:25:17.519 --> 00:25:19.119
up a little bitter or dirty it
up a little bit, feel free,

319
00:25:19.839 --> 00:25:26.240
you know. Some some people define
it pretty narrowly. A production designer has

320
00:25:26.240 --> 00:25:34.559
been the one that oversees the art
department and kind of make sure that it's

321
00:25:34.759 --> 00:25:45.519
tied in to wardrobe and and props
to create the overall look of the film.

322
00:25:45.960 --> 00:25:51.119
I've always gone a lot further than
that. Yeah, and I'll go

323
00:25:51.240 --> 00:25:56.559
out and and and you know,
start haranguing the writers if if I can

324
00:25:56.599 --> 00:26:03.559
don't get my way. Uh.
But it's I tell people this. You

325
00:26:03.599 --> 00:26:07.799
look at Batman, right, Okay, If you look at Batman, you

326
00:26:07.880 --> 00:26:12.160
know that every bid of that film
was made was created right, the look

327
00:26:12.200 --> 00:26:15.480
of at the lighting, the whole
things and stuff. Okay, that's the

328
00:26:15.480 --> 00:26:21.160
production designer's job, is Batman?
Now? The funny thing about it is

329
00:26:21.559 --> 00:26:27.200
there. There are shows that are
Batman is the perfect example because it's because

330
00:26:27.480 --> 00:26:32.640
you can know, you can look
because there's the batmobiles, the Batmobile and

331
00:26:32.880 --> 00:26:37.440
and his costume and all that and
all that comes together to make a new

332
00:26:37.519 --> 00:26:41.200
and different world. The thing that
you don't know is that there's a production

333
00:26:41.279 --> 00:26:48.119
designer behind everything. As far as
a production designer is kind of it pulls

334
00:26:48.160 --> 00:26:53.519
all these things together. And I
have a tendency to pull together and on

335
00:26:53.799 --> 00:26:57.720
night on especially in this show.
I mean, I was the one that

336
00:26:57.839 --> 00:27:03.480
was kind of like doing the effects
with Andre and trying to teach him,

337
00:27:03.720 --> 00:27:07.720
and I kept bringing in people that
you know, were kind of like beginners,

338
00:27:08.240 --> 00:27:15.960
and I had a couple of different
construction coordinators. And it was one

339
00:27:15.960 --> 00:27:23.880
of the shows where in order to
keep a construction crew and a swing crew,

340
00:27:25.279 --> 00:27:29.359
you know, to move set dressing
and and construction stuff in and out

341
00:27:29.720 --> 00:27:33.880
was very difficult because it was that
that place was open twenty four hours a

342
00:27:33.960 --> 00:27:38.640
day. Sure, and I would
I would come in. I remember one

343
00:27:38.720 --> 00:27:45.839
night, I mean I would be
there. I would be there kind of

344
00:27:45.599 --> 00:27:49.920
I would wind up being there early
in the morning so I could bed them

345
00:27:51.079 --> 00:27:56.160
in and and you know, kind
of get the filming crew in. But

346
00:27:56.240 --> 00:28:00.559
then but but then then I would
go home for a while and then come

347
00:28:00.599 --> 00:28:07.119
back in and work maybe from like
ten o'clock at night until you know,

348
00:28:07.319 --> 00:28:12.400
two in the morning to like bed
my construction crew in because we were always

349
00:28:12.480 --> 00:28:19.720
turning around. I mean almost every
day we turned around two sets, so

350
00:28:21.440 --> 00:28:25.079
we would film on two. We'd
have two sets that filmed on well,

351
00:28:25.240 --> 00:28:33.079
two sets. We had four set
places, and it was a small warehouse,

352
00:28:33.119 --> 00:28:37.119
so we divided it kind of into
four, and then we would you

353
00:28:37.119 --> 00:28:41.440
know, do two would be active
and then we would be working on the

354
00:28:41.480 --> 00:28:45.599
other two. And it just kept
going day after day after day like that,

355
00:28:45.880 --> 00:28:48.440
in a constant motion, you know. And the thing is that scripts

356
00:28:48.519 --> 00:28:52.920
kept coming down. I remember one
time we we would have this meeting like

357
00:28:53.680 --> 00:29:00.000
every Friday about the next show coming
up, which we would then immediately start

358
00:29:00.200 --> 00:29:07.680
in on, and it would be
at lunch, right and at least every

359
00:29:07.720 --> 00:29:12.759
other script they would have Freddy burst
into flames. And the thing is is

360
00:29:12.839 --> 00:29:18.160
we couldn't and we couldn't afford to
do that, and b would have been

361
00:29:18.200 --> 00:29:21.759
really boring. And I remember one
time the key grip looked up and he

362
00:29:21.799 --> 00:29:26.799
says, couldn't we just have Freddy
burst into song instead not a character.

363
00:29:27.119 --> 00:29:30.480
Yeah, you know, I was
gonna say, you know, yeah,

364
00:29:30.640 --> 00:29:34.240
yeah, that's great, but then
what do we do well. That's one

365
00:29:34.240 --> 00:29:38.640
thing that we have absolutely come to
love with Freddy's domain, especially is your

366
00:29:38.680 --> 00:29:41.839
intro and the outros to the episodes. You know, you've got Freddie talking

367
00:29:41.920 --> 00:29:45.960
to you each time, and it
seems like they're always trying to one up

368
00:29:45.000 --> 00:29:48.640
each other each time. Like I
mean, in Tom McLoughlin's episode It's a

369
00:29:48.680 --> 00:29:52.640
Miserable Life or no Killer Instinct,
you got him popping out of a girl's

370
00:29:52.680 --> 00:29:56.759
panty basket. And then yeah,
one of our most recent episodes, you

371
00:29:56.799 --> 00:30:02.319
turned Freddy was in heels and had
his glove all and everything. Yeah,

372
00:30:02.440 --> 00:30:06.559
yeah, No, it's it's the
lunacy of like doing things at three o'clock

373
00:30:06.599 --> 00:30:10.200
in the morning. Sure, yeah, I mean, and the thing is

374
00:30:10.200 --> 00:30:17.079
is mostly Freddie's domains. Stuff was
done pretty uh tongue in cheek. Any

375
00:30:17.160 --> 00:30:19.039
fucking thing we could come up with, we would do. And I thought

376
00:30:19.039 --> 00:30:25.559
it was very emotional as he rose
out of a fry. That's one of

377
00:30:25.559 --> 00:30:27.880
my favorite reveals. When we first
started watching the series, from the beginning,

378
00:30:29.119 --> 00:30:30.920
right. That was my favorite moment, was just watching his head come

379
00:30:30.960 --> 00:30:40.759
out of the friar origin happy.
Yeah, yeah, yeah. And Robert

380
00:30:40.839 --> 00:30:42.680
had always come and hang out,
and Robert and I had known each other

381
00:30:42.680 --> 00:30:47.119
for years by that point. Yeah. I introduced him to his wife.

382
00:30:47.160 --> 00:30:51.680
His wife worked for me on a
on a show called Frankenstein The Collegers My

383
00:30:51.759 --> 00:30:57.960
Magnum, My magnum Opus. Yeah. So, so Freddy and so Robert

384
00:30:59.000 --> 00:31:02.160
and I had been hanging around for
an awful long time, you know.

385
00:31:02.400 --> 00:31:07.240
Yeah, uh so. I wanted
to mention real quick because when we were

386
00:31:07.279 --> 00:31:12.079
talking about having you on in our
little studio here, there's a poster on

387
00:31:12.119 --> 00:31:17.880
this wall for a film that you
worked on that is not referenced on IMDb.

388
00:31:18.000 --> 00:31:21.720
There's a lot of time I believe, we believe that. But this

389
00:31:21.759 --> 00:31:25.839
one's extra special to me because it's
Night of the Scarecrow Jeff Berg Scarecrow.

390
00:31:26.079 --> 00:31:30.119
Hey. Oh you know that Jeff
Burgess died, right, Jeff and I

391
00:31:30.160 --> 00:31:33.960
were friendly. Oh, Jeff was
friends with the fucking world. Man.

392
00:31:33.039 --> 00:31:37.440
I mean, j Jeff, I
gotta tell you something in the with the

393
00:31:37.480 --> 00:31:45.680
old phrase that only the good die
young, and Jeff that that hurt my

394
00:31:45.759 --> 00:31:51.319
heart. Jeff and I have have
been friends for a million years. I

395
00:31:51.319 --> 00:31:56.039
mean we did Texas Change on Massacre
three together, so uh and and we

396
00:31:56.119 --> 00:32:00.799
did that, and you know,
we were We've just always been friend.

397
00:32:01.000 --> 00:32:06.000
I moved to Tennessee and and uh
when I when I got out here to

398
00:32:06.079 --> 00:32:08.519
Nashville, it seemed like, uh
like Jeff was out here all the time.

399
00:32:09.000 --> 00:32:13.440
Uh. We would see each other
at cons all the time. I

400
00:32:13.480 --> 00:32:16.039
would talk to I mean, a
good friend of mine is our Ari Mahalof

401
00:32:16.400 --> 00:32:22.039
and and and he and Jeff were
like bonded, you know, uh as

402
00:32:22.119 --> 00:32:28.640
friends forever. He was a leather
face in yeah, in TCM three.

403
00:32:28.960 --> 00:32:34.160
In fact, I just I just
did a film beginning of this year called

404
00:32:34.799 --> 00:32:43.799
Pig Hill. And Uh. Pig
Hill was uh executive produced by r A

405
00:32:43.880 --> 00:32:47.759
and UH and a group of people
from Meadville, Pennsylvania. And I went

406
00:32:47.839 --> 00:32:54.759
up and production designed that and Jeff
was supposed to UH was supposed to direct,

407
00:32:54.759 --> 00:32:59.720
but he was having health problems and
it was taken over by the guy

408
00:32:59.799 --> 00:33:08.279
who did Willy's Wonder World and and
and and we shot that and it's it's

409
00:33:08.359 --> 00:33:13.559
like my life has been Jeff Burr
adjacent for so many years I just can't

410
00:33:13.599 --> 00:33:16.279
tell you. Yeah. Uh,
Burr and I got to know each other

411
00:33:16.319 --> 00:33:20.920
about ten years ago. Yeah,
and he was actually he actually did a

412
00:33:20.960 --> 00:33:24.480
cameo in my romantic comedy movie.
He played a soulless, sleazy producer,

413
00:33:24.759 --> 00:33:30.920
which he he relished every second of
being that that. Uh, well,

414
00:33:30.599 --> 00:33:36.799
you know it's you might as you
might as well play something that you've been

415
00:33:36.799 --> 00:33:40.400
complaining about for one hundred years.
Yeah. No, My favorite thing about

416
00:33:40.400 --> 00:33:44.680
that was I was down in Dalton, Georgia filming that with him, and

417
00:33:44.680 --> 00:33:50.119
we shot it at Mark Hannah's a
little uh second house in the backyard because

418
00:33:50.119 --> 00:33:53.559
that's the whole office. And uh, as I'm talking to Mark, all

419
00:33:53.599 --> 00:33:55.640
of a sudden, Jeff's like,
I'll be right back, and he goes

420
00:33:55.640 --> 00:34:00.400
out front and then we hear his
car start and he drives. He drives

421
00:34:00.440 --> 00:34:04.200
away, and I turned to Mark
and I'm like, did Jeff just leave?

422
00:34:04.240 --> 00:34:06.680
He's like, I don't know.
It was like, well, I

423
00:34:06.680 --> 00:34:08.760
mean like I had just met Mark
like three minutes ago, so I'm like,

424
00:34:08.800 --> 00:34:12.400
uh, where did he go?
And he was like, I'm sure

425
00:34:12.400 --> 00:34:14.199
he'll be back. He said he'd
be back, and he was like,

426
00:34:14.199 --> 00:34:17.239
I thought he was going outside so
five ten minutes later, he walks back

427
00:34:17.280 --> 00:34:20.920
in and he sits down and I'm
like, Jeff, where'd you go?

428
00:34:21.480 --> 00:34:22.920
And he was like, oh,
sorry, mate, and he pulls out

429
00:34:22.960 --> 00:34:25.800
like a crappy gas station cigar and
he's like, I gotta have one of

430
00:34:25.800 --> 00:34:34.079
these for the characters. And Mark
was like, I was already that is

431
00:34:34.159 --> 00:34:38.079
the most Jeff birthing that I've ever
heard in my life. Yeah, and

432
00:34:39.039 --> 00:34:43.159
I honestly we should send him a
link to the two B of that of

433
00:34:43.199 --> 00:34:45.519
that Wrong. I think you get
a real kick out of seeing Jeff's part

434
00:34:45.519 --> 00:34:50.119
in it. It's just anything at
all I saw. My heart is still

435
00:34:50.119 --> 00:34:54.960
completely broken that that that he's dead. But but it's really funny, is

436
00:34:54.960 --> 00:35:02.480
is that people? People? I
think it's funny that nowadays IMDb people will

437
00:35:02.599 --> 00:35:10.760
sit and you know, my dog
is on IMDb. My fucking dog is

438
00:35:10.800 --> 00:35:15.280
on IMDb, right, And I
sort of got the thing is is I

439
00:35:15.320 --> 00:35:23.480
mean I didn't understand what ID IMDb
was, you know, like in the

440
00:35:24.239 --> 00:35:35.039
two thousand and five you know,
I really didn't know probably until two thousand

441
00:35:35.119 --> 00:35:39.719
and thirteen, fourteen something like that, did I actually move away from Hollywood

442
00:35:39.840 --> 00:35:44.239
up here and get as soon as
I got out of Hollywood. Then I

443
00:35:44.320 --> 00:35:52.280
understood how the stuff that I did
was remembered. Right. You know,

444
00:35:52.360 --> 00:35:57.400
if you're in Hollywood, the only
thing that you ever really worry about or

445
00:35:57.599 --> 00:36:01.079
understand is your next job, right, And you're only as good as the

446
00:36:01.119 --> 00:36:06.880
thing that you did yesterday. And
that is such a true thing. So

447
00:36:06.960 --> 00:36:10.519
then it took as I got away
from it. I just distinctly remember on

448
00:36:10.599 --> 00:36:17.760
Facebook kind of going over my wife
and going, you know what, look

449
00:36:17.800 --> 00:36:22.400
at this guy. This guy says
that that he knows about my work.

450
00:36:22.440 --> 00:36:25.599
And I looked at her and I
said, do I have something called my

451
00:36:25.719 --> 00:36:32.800
work? You preferred the phrase uvra? Yeah, yeah, I had no

452
00:36:32.840 --> 00:36:38.280
fucking ideas, Like it's like,
oh, well, you know, he

453
00:36:38.519 --> 00:36:42.000
likes a lot of horror film stuff
that I did for so long, and

454
00:36:42.000 --> 00:36:47.360
I was like, wow, that's
weird. So speaking of your ubra one

455
00:36:47.400 --> 00:36:53.480
that we have to touch on out
just so my ub hurts okay, sorry,

456
00:36:53.719 --> 00:36:59.639
hey, it's my uber don't wear
it out. You are credited as

457
00:37:00.119 --> 00:37:06.559
the miniature manager and the miniature director
on The Fantastic Four by Roger Corman.

458
00:37:06.760 --> 00:37:09.400
Yes, yes, and I would
just love to hear the art film.

459
00:37:10.159 --> 00:37:15.800
Yes, the art film yes,
critically claim, critically claimed, yeah,

460
00:37:15.960 --> 00:37:24.039
and the production designer, yes,
yes, exactly. Yeah. I would

461
00:37:24.079 --> 00:37:27.800
just like to know what to say. I never know what to say about

462
00:37:27.840 --> 00:37:32.119
that. I understand, Oh,
I totally understand that. Particularly one was,

463
00:37:34.199 --> 00:37:39.000
you know, a guy calls me
up and says, literally in the

464
00:37:39.079 --> 00:37:45.199
middle of November, right, says, I've got a film that we've got

465
00:37:45.280 --> 00:37:49.800
to make half of it. And
this is this is like the phone call.

466
00:37:49.840 --> 00:37:52.719
The first phone call is I have
a film. It's a Marvel film.

467
00:37:53.039 --> 00:37:57.159
And this is before Marvel films were
a thing. Yeah, so I

468
00:37:57.159 --> 00:38:00.440
had to say, well, what
the fuck is a Marvel film? He

469
00:38:00.519 --> 00:38:05.079
says, well, it's it's The
Fantastic Four from the comic book, right,

470
00:38:05.320 --> 00:38:07.960
And I go, okay, you're
not explaining your suffering. Well,

471
00:38:08.000 --> 00:38:13.639
but okay, whatever the fuck right
and he and and he goes, here's

472
00:38:13.679 --> 00:38:20.559
the thing we need to half of
We need half of it shot before January

473
00:38:20.599 --> 00:38:23.679
first. I was like, wait
a minute, what are you talking about?

474
00:38:24.039 --> 00:38:30.320
What the fuck are you talking about? Welcome to prime time, We'll

475
00:38:30.360 --> 00:38:42.320
be right back. We're back now, bitch, and so uh so he

476
00:38:42.519 --> 00:38:47.760
uh so I go down and I
meet with them, and Olie Sassoon who's

477
00:38:47.840 --> 00:38:53.360
the director, And we sit around
and and and he goes, I go,

478
00:38:53.519 --> 00:39:00.679
well, I'm I can't imagine what
it would take to put this together

479
00:39:00.760 --> 00:39:06.840
in that short period of time.
And and then I dive in and we

480
00:39:06.920 --> 00:39:10.280
did it. I mean that was
and then uh. And the thing is

481
00:39:10.320 --> 00:39:15.800
is, so I knew from the
beginning that it was that I knew why

482
00:39:17.199 --> 00:39:23.199
it was made, right, Yeah, I I I think some of the

483
00:39:23.239 --> 00:39:29.039
actors really believed that, you know, this was going to be their their

484
00:39:29.119 --> 00:39:35.519
magnum opus, as it were.
And uh, I never believed that I

485
00:39:35.599 --> 00:39:42.719
did the best I could on Roger
Corman's Little Lot and uh I and and

486
00:39:43.119 --> 00:39:46.280
I got read great Roger Corman story
for you. So we had to have

487
00:39:46.760 --> 00:39:51.159
half of the film done, and
I had built it out with sets,

488
00:39:51.440 --> 00:39:57.119
you know, his his look,
his uh modified lumber yard, which is

489
00:39:57.159 --> 00:40:00.840
exactly what it was, right And
and I remember going over where I had

490
00:40:00.920 --> 00:40:08.079
the lair Moleman's lair right, which
I thought was really pretty cool set,

491
00:40:08.400 --> 00:40:15.079
you know, as far as sets
go. And and I'm I'm locking up

492
00:40:15.480 --> 00:40:21.079
for the for the few days that
we had off right, because we we

493
00:40:21.119 --> 00:40:25.400
had we had like gotten halfway right, and I think that was still two

494
00:40:25.480 --> 00:40:28.519
days before the end of the year, and we weren't going to be back

495
00:40:28.599 --> 00:40:31.519
until the fourth or something like that. And there's an old man sitting up

496
00:40:31.559 --> 00:40:36.280
on the stage. And by old
man, I say, somebody who wasn't

497
00:40:36.320 --> 00:40:42.119
more than it was probably fifteen years
older than I was. But but he

498
00:40:42.239 --> 00:40:45.840
was sitting there on a folding chair
that he had pulled up and and he

499
00:40:45.920 --> 00:40:50.360
had a legal pad in front of
him. I said, I didn't know

500
00:40:50.400 --> 00:40:53.800
who he was. I said,
hey, I I got to lock up

501
00:40:53.840 --> 00:40:58.559
here. Man, you know how
to? I said, you gotta leave

502
00:40:58.559 --> 00:41:04.039
because I got to get locked up
and and I'm tired, and I mean,

503
00:41:04.079 --> 00:41:07.000
which you know, let's face it, it's a production designer on low

504
00:41:07.000 --> 00:41:12.840
budget shit. I was always tired, so I said, and I'm tired.

505
00:41:13.039 --> 00:41:15.119
And he goes, oh, you
know, that's okay. I have

506
00:41:15.280 --> 00:41:16.760
the key, I'll lock it up
and go oh great, and I go

507
00:41:17.719 --> 00:41:22.119
whatever, and he goes, I
like you set here. He says,

508
00:41:23.760 --> 00:41:27.039
I just got to make some notes, and I go, okay, fine,

509
00:41:27.079 --> 00:41:32.639
and so he goes and he introduced
himself as Roger and I told him

510
00:41:32.639 --> 00:41:35.400
that I was making He goes,
yeah, I know who you are.

511
00:41:35.440 --> 00:41:37.800
And I go Okay, great,
And then I got in my car and

512
00:41:37.840 --> 00:41:44.320
I love I get back on the
fourth and that son of a bitch had

513
00:41:44.960 --> 00:41:51.400
written he was in the process of
writing a film when I interrupted him was

514
00:41:52.039 --> 00:41:57.079
an interest. He was writing a
film about that set. What I didn't

515
00:41:57.119 --> 00:42:01.960
know was that they literally fucking start
filming the next morning. That's amazing.

516
00:42:02.079 --> 00:42:07.639
That is such a Roger Corman story
right there, and literally fucking filmed another

517
00:42:07.760 --> 00:42:15.119
film on my self and repainted them
in the process. I was like fucking

518
00:42:15.199 --> 00:42:19.960
furious. I was just like,
holy but you know, it's like,

519
00:42:20.320 --> 00:42:23.360
it's like, we put up the
tape. We put up the tape that

520
00:42:23.440 --> 00:42:30.320
said hot set don't cross. How
can you expect to get another job in

521
00:42:30.360 --> 00:42:34.960
Hollywood if you cross the tape that
said hot set don't cross? Right,

522
00:42:35.159 --> 00:42:39.079
I was just my mind was just
completely blown, right, oh man,

523
00:42:40.119 --> 00:42:45.039
So then then that became a whole
thing, right, And the funny thing

524
00:42:45.079 --> 00:42:49.400
about it is, you know,
there's no many you know, if Roger

525
00:42:49.840 --> 00:42:52.239
Corman said that he spent ten million
dollars on that, that mates. That

526
00:42:52.360 --> 00:43:00.559
means that he's spent ten thousand dollars
on it, and uh and essentially only

527
00:43:00.800 --> 00:43:04.199
grabbed it back. And yeah,
I mean, you know this, if

528
00:43:04.239 --> 00:43:09.199
you were all understand uh, there
have been films made about you. He

529
00:43:09.360 --> 00:43:15.719
grabbed, he grabbed it and put
it all together. But I thought that

530
00:43:15.800 --> 00:43:20.039
the optical guy had his head up
his ass because he was talking about all

531
00:43:20.039 --> 00:43:22.679
this CGI. And I was like, Okay, look, I understand CG.

532
00:43:22.880 --> 00:43:29.039
I evidently you don't, uh,
because CGI was brand new, but

533
00:43:29.199 --> 00:43:32.679
it had to follow a lot of
the actual rules of filming, right And

534
00:43:32.719 --> 00:43:36.960
this guy was like, well,
we'll just we'll make it up as we

535
00:43:37.000 --> 00:43:42.480
go along in CGI. I'm like, really, huh, I don't think

536
00:43:42.480 --> 00:43:45.679
that's gonna happen. So I built
a whole bunch of miniatures in my garage

537
00:43:46.199 --> 00:43:52.599
during on the weekends while the film
went along because because obviously weren't we weren't

538
00:43:52.599 --> 00:43:58.079
going to need them, says the
CGI guy, and uh. And then

539
00:43:58.159 --> 00:44:01.440
you know, like maybe on the
tenth day of the new year, all

540
00:44:01.480 --> 00:44:04.960
of a sudden, they said,
hey, listen, you have somebody that

541
00:44:05.320 --> 00:44:07.440
can build build some miniatures and stuff. And it said, funny, you

542
00:44:07.480 --> 00:44:12.400
should ask the ship that you need
is all in my garage right now,

543
00:44:12.599 --> 00:44:16.920
just bring on down. And I
directed it and that's it. That's awesome.

544
00:44:17.360 --> 00:44:22.320
I mean I. I never he
never gets tiring hearing a new Roger.

545
00:44:22.199 --> 00:44:27.760
I think you think you figured out
just how cheap and how quick someone

546
00:44:27.800 --> 00:44:31.239
can do things. Okay, here's
a Now this is a great one.

547
00:44:31.559 --> 00:44:36.840
This is about this is literally about
that film. So so Corman is uh

548
00:44:37.519 --> 00:44:45.599
so Corman requires that you use his
equipment. Right, And the electrician comes

549
00:44:45.599 --> 00:44:49.639
around the corner and he says,
you know what he says, I just

550
00:44:49.719 --> 00:44:52.199
talked to the I talked to the
people up front saying that I needed a

551
00:44:52.320 --> 00:44:57.679
generator when we were on the next
set. And she reaches underneath the counter

552
00:44:57.800 --> 00:45:06.480
and she pulls up and she handed
him, uh a padal that's that was

553
00:45:06.519 --> 00:45:13.920
a distribution type of like, uh, consider it like a really powerful uh

554
00:45:14.039 --> 00:45:16.880
plug that you plug into the wall. Yeah. He had a paddle that

555
00:45:17.039 --> 00:45:22.719
had three tongs to it. Right
that basically, uh it looked like a

556
00:45:23.400 --> 00:45:29.320
imagine jump starting starting your car.
And he and she goes, okay,

557
00:45:29.719 --> 00:45:34.320
uh, you give the guy next
door twenty bucks and then you just clip

558
00:45:34.360 --> 00:45:43.920
on power. That was the generator. That was the fucking generator, right.

559
00:45:44.320 --> 00:45:50.360
I was like, wow, that's
uh that's interesting. So I said

560
00:45:50.719 --> 00:45:57.199
so so along in that vein,
I needed to do a bunch of newspaper

561
00:45:57.280 --> 00:46:02.159
spin ins, right, and you
know the old fashioned that show has four

562
00:46:02.199 --> 00:46:06.800
of them. I think the newspaper
spins in right. But the way that

563
00:46:06.880 --> 00:46:09.519
you do that, and it's one
of those things where you have to think

564
00:46:09.559 --> 00:46:16.360
about it for a minute. It
come it lands in a particular position,

565
00:46:16.639 --> 00:46:22.119
you know, that kind of angled
forty almost the forty thirty degrees right,

566
00:46:22.639 --> 00:46:30.079
and and that's the newspaper right.
But you can't spend something get it to

567
00:46:30.159 --> 00:46:32.679
land like that, right. So
what you do is you film it in

568
00:46:32.719 --> 00:46:37.880
reverse. And we just we just
put a doll on the end of a

569
00:46:37.000 --> 00:46:42.800
drill and a piece of plywood and
put the newspaper on it and then spun

570
00:46:42.880 --> 00:46:47.440
it and then filmed it in reverse. So we're in the second unit meeting

571
00:46:47.920 --> 00:46:52.599
for that for the for the show, which is where I filmed all miniatures,

572
00:46:53.079 --> 00:46:58.320
and the DP goes, well,
we're gonna need a reverse bag,

573
00:46:58.800 --> 00:47:02.519
you know, because back then that
was film and a reverse mag was something

574
00:47:02.519 --> 00:47:07.880
that you would that kind of it
ran in reverse, and it kind of

575
00:47:07.920 --> 00:47:13.920
made it so that your film would
then the film would literally run on the

576
00:47:13.960 --> 00:47:15.679
camera. The camera would still roll
forward, but the film would run in

577
00:47:15.760 --> 00:47:20.440
reverse. Right right, And they
said, no, we don't have one

578
00:47:20.440 --> 00:47:22.480
of those. And I said,
well that's not a problem. Just turn

579
00:47:22.559 --> 00:47:28.239
the camera. Here's the funny thing
is, DP didn't believe it work,

580
00:47:30.000 --> 00:47:32.199
and I was like, well wait
a minute. I said, now hold

581
00:47:32.199 --> 00:47:37.599
on, that's that's that's just like
physics one on one, right, you

582
00:47:37.639 --> 00:47:42.400
know, I mean, but he's
so I went into the editing room after

583
00:47:42.440 --> 00:47:45.039
the meeting. He says, we're
just canceling that because that's not gonna work.

584
00:47:45.679 --> 00:47:49.519
Okay. So I went into the
editing room and I got about three

585
00:47:49.559 --> 00:47:54.559
foot piece of film and and what
I would do, Let's see if I

586
00:47:54.599 --> 00:48:01.400
can actually show you Han a three
foot Oh go stare. So we take

587
00:48:01.440 --> 00:48:07.320
a three foot piece of film and
I just took my arms and I held

588
00:48:07.320 --> 00:48:09.199
it between my arms and I zipped
it in front of my face and went,

589
00:48:09.800 --> 00:48:14.159
you see, and I would.
I went up to him and I

590
00:48:14.239 --> 00:48:16.559
said, well, here's what it
is. You see the image is here,

591
00:48:16.679 --> 00:48:20.559
and then you you just look at
it with your eyes, you can

592
00:48:20.599 --> 00:48:22.679
see it. And I zipped the
film in front of him and go,

593
00:48:22.880 --> 00:48:25.920
now, we're just gonna take it
over here like this, and the camera

594
00:48:25.960 --> 00:48:30.800
goes upside down and then it zip
like this, right, and I'm waving

595
00:48:30.840 --> 00:48:32.920
the piece of film around, and
I got my arms up in the air

596
00:48:32.960 --> 00:48:36.719
waving the piece of film around,
and you know what I was doing.

597
00:48:36.800 --> 00:48:42.199
I was doing the Emperor's New clothes, right, because there's no fucking way

598
00:48:42.320 --> 00:48:45.280
that that was gonna make a difference
that you could imagine that. I'm just

599
00:48:45.320 --> 00:48:50.960
basically throwing a piece of film around
in the air, right, And so

600
00:48:51.039 --> 00:48:52.920
I said, yeah, that's how
you do it. And then I handed

601
00:48:52.920 --> 00:48:55.599
it in the film and I said, do me fair, just put it

602
00:48:55.599 --> 00:48:59.280
back on the schedule. So he
goes, oh, yeah, no,

603
00:48:59.400 --> 00:49:06.079
I totally so at the end of
the day. The next day we were

604
00:49:06.079 --> 00:49:08.599
gonna we were going to be doing
uh the filming. Right. So at

605
00:49:08.599 --> 00:49:13.719
the end of the day, my
my art director walks in and he sits

606
00:49:13.719 --> 00:49:17.000
stand across from me. He goes, he says, Okay, I have

607
00:49:17.119 --> 00:49:23.639
been seeing the stupidest fucking thing today, and I'm one hundred percent sure that

608
00:49:23.760 --> 00:49:27.599
it has something to do with you, because you're kind of a bastard.

609
00:49:30.039 --> 00:49:31.360
I go, Okay, what is
it? He says, Well, the

610
00:49:31.440 --> 00:49:35.960
thing is is there's a piece of
three foot piece of film that's been going

611
00:49:36.000 --> 00:49:39.440
around from person to person that that
that they wave around for one moment and

612
00:49:39.440 --> 00:49:44.000
then they talk about like cameras upside
down and shit like that and reverse this,

613
00:49:44.320 --> 00:49:46.320
verse that, and then the hand
of that person and that person walks

614
00:49:46.320 --> 00:49:52.159
off with it and he says,
I know you, and I know that

615
00:49:52.559 --> 00:49:58.519
somewhere deep down inside you fucking did
that. I go, Okay, guilty

616
00:49:58.679 --> 00:50:06.719
his charge. So that's the ultimate
Roger Corman. I'm shocked. I've I've

617
00:50:06.800 --> 00:50:12.199
dped about twenty some features, never
on celluloid. Yeah, but even I

618
00:50:12.239 --> 00:50:15.559
know the upside down camera track.
You even told me that. I was

619
00:50:15.599 --> 00:50:19.199
surprised that you caught that because you
hit it immediately, and I thought,

620
00:50:19.239 --> 00:50:21.920
oh, yeah, well you know, there you go. That's the Yeah,

621
00:50:22.159 --> 00:50:25.639
it's it's I don't know why I
knew that. It's just totally makes

622
00:50:25.239 --> 00:50:29.280
me maybe. I mean, most
of the people that have told me about

623
00:50:29.320 --> 00:50:32.079
that made like super eight movies when
they were kids, and then and they

624
00:50:32.079 --> 00:50:35.800
figured out, like they read it
in like a magazine or something, that

625
00:50:35.880 --> 00:50:37.920
if they turned their home movie camera
upside down, they get a reverse.

626
00:50:38.480 --> 00:50:42.760
That's how I first heard about it. Right to me, it just made

627
00:50:42.760 --> 00:50:45.079
sense. It just was like,
well, it seems like if you turn

628
00:50:45.159 --> 00:50:46.760
the camera upside down, it's doing
exactly the same thing. But you know,

629
00:50:47.280 --> 00:50:51.159
it's good to know a few things
about cameras when you're working in motion

630
00:50:51.320 --> 00:50:54.159
pictures. Oh yeah, I don't
know if that's camera as much as it

631
00:50:54.320 --> 00:50:59.320
just as common fucking sense. Well, I didn't want to go crazy ask

632
00:50:59.320 --> 00:51:04.440
me for common sense in the film
business, but yeah, because I had

633
00:51:04.480 --> 00:51:07.000
a friend of mine won't once say
to me, He says, you know,

634
00:51:07.079 --> 00:51:09.840
the funny thing is is that you've
got something that isn't very common in

635
00:51:10.599 --> 00:51:14.360
Hollywood, and I go, what
it is? It's just common sense.

636
00:51:17.880 --> 00:51:22.079
I have had so many experiences on
movie sets where I've stopped dead in my

637
00:51:22.119 --> 00:51:23.880
tracks and went, oh my god, I am the most sane and competent

638
00:51:23.920 --> 00:51:28.840
person here. We are all so
fucked, he says. He says this

639
00:51:28.880 --> 00:51:34.639
out loud sometimes on set too.
I sort of God, that's when you

640
00:51:34.679 --> 00:51:38.519
start drinking, you know what.
It's just there are times in your life

641
00:51:38.639 --> 00:51:45.920
where drinking is the answer. So, Dave you got anything else for Mick.

642
00:51:45.039 --> 00:51:49.760
I've got to ask, because we
Hendrick and I are both big movie

643
00:51:49.760 --> 00:51:52.880
fans. If you haven't figured that
out yet, and especially Cannon, you're

644
00:51:52.960 --> 00:51:58.920
credited as construction coordinator on Runaway Train, a movie, and I have to

645
00:51:58.960 --> 00:52:04.079
go, I have to know what
that was like, because yeah, that's

646
00:52:04.119 --> 00:52:07.039
a great film. That's a film. I didn't know anything about the pedigree

647
00:52:07.039 --> 00:52:09.360
of it or anything. Yeah,
Dave just brought it over and when it

648
00:52:09.360 --> 00:52:10.880
was over, like that was amazing. It was like, yeah, it

649
00:52:10.880 --> 00:52:15.159
was like nominated. Did it win? I think it won? It won,

650
00:52:15.400 --> 00:52:19.559
it won Best Editing. I think
yeah, yeah, but like yeah,

651
00:52:19.599 --> 00:52:22.039
then I was like, well,
hell, I get why so no,

652
00:52:22.159 --> 00:52:24.599
I we'd love to hear anything about
Oh my god, there's there is

653
00:52:24.760 --> 00:52:29.320
so much. There's so much about
Runaway Train that was just so interesting.

654
00:52:29.400 --> 00:52:35.000
But uh we we did. I
was doing Second Unit with Max Max von

655
00:52:35.119 --> 00:52:39.199
Clevin, who was a hero for
Super Unit, for Second Unit stuff.

656
00:52:39.199 --> 00:52:42.880
I mean, he's true with him
all the time, and he was like

657
00:52:42.920 --> 00:52:45.480
one of these guys. I would
say, okay, boys, this one's

658
00:52:45.519 --> 00:52:50.320
for the trailer, and uh and
he was right, you know, yeah,

659
00:52:50.400 --> 00:52:54.960
because literally Max fun Clevin probably did
half of the trailers in the eighties

660
00:52:57.039 --> 00:53:00.039
because they were all Second Unit,
right, Oh yeah, uh so,

661
00:53:00.360 --> 00:53:07.480
uh yeah. The thing is is, so we had to make trains that

662
00:53:07.639 --> 00:53:12.599
copied the trains that were in Montana
in Montana, and then they didn't use

663
00:53:12.639 --> 00:53:17.199
the trains in Montana because Montana had
had a really warm winter and they didn't

664
00:53:17.239 --> 00:53:24.119
get snow. So the whole thing
wound up filming on some wooden trains that

665
00:53:24.159 --> 00:53:31.000
we made that were built over what
are called uh switching switching motors, right

666
00:53:31.480 --> 00:53:36.719
and and the front one the GP
and and I'm talking specifically about the front

667
00:53:36.760 --> 00:53:42.519
one because the one with the domed
front and stuff. They there wasn't one

668
00:53:42.599 --> 00:53:46.360
up in Alaska. They were they
were like the newer variety GP forard because

669
00:53:46.440 --> 00:53:50.320
you don't want that thing. Thing
is that that was more of the g

670
00:53:50.639 --> 00:53:58.400
GP part in the GP five.
Of course, of course remember like a

671
00:53:58.519 --> 00:54:05.519
matter of that was a sixty.
Ain't think so so. Uh. The

672
00:54:05.599 --> 00:54:08.400
thing is is we had to have
all kinds of control of it and we

673
00:54:08.440 --> 00:54:12.679
had to like be able to get
the h We had to get that front

674
00:54:12.679 --> 00:54:15.519
piece on, and we had to
get the front piece off. We had

675
00:54:15.519 --> 00:54:19.880
to uh, we had to ice
it all. Uh. It was just

676
00:54:19.880 --> 00:54:24.519
just so much work. Uh.
We we literally had a crane that was

677
00:54:24.639 --> 00:54:32.280
on another car that would that would
come forward and lift that that wreckage off

678
00:54:32.320 --> 00:54:37.159
to the front. It was all
you know, that whole plow kind of

679
00:54:37.239 --> 00:54:40.639
thing that that that was the wreckage
of the other train. And I was

680
00:54:40.639 --> 00:54:45.920
in I was in the caboose of
the of the other train when we actually

681
00:54:46.000 --> 00:54:50.679
hit the caboose. Oh my god, right, because it was supposed to

682
00:54:50.719 --> 00:54:52.199
be in the model, right,
Yeah, it was supposed to be in

683
00:54:52.199 --> 00:54:55.039
the model. But we had to
make we had to make the approach,

684
00:54:55.920 --> 00:55:00.280
and we had to get the two
trains to look like they actually you know,

685
00:55:00.480 --> 00:55:05.719
past each other, right, And
there was a huge miscalculation, and

686
00:55:05.840 --> 00:55:10.400
we and and I'm in the and
it was how stupid is this? I

687
00:55:10.400 --> 00:55:19.280
mean literally, I was in the
fucking caboose making this mate with We had

688
00:55:19.280 --> 00:55:29.039
put this little fake they're bringing this, put the fake uh uh chimney on

689
00:55:29.119 --> 00:55:34.280
it so that we could have the
dynamic of having smoke come out of that

690
00:55:34.360 --> 00:55:38.280
chimney, right and uh and and
so I'm sitting up there and I've got

691
00:55:38.280 --> 00:55:45.000
the smoker and I'm like pump puffing
out and and basically we modified it to

692
00:55:45.239 --> 00:55:49.880
like go around over a window and
that goes up and and and so it's

693
00:55:49.960 --> 00:55:52.360
on the fake chimney and it's puffing
away and I'm looking and I see the

694
00:55:52.480 --> 00:56:00.320
other train coming. I'm going,
this is getting uncomfortably cooks. Welcome to

695
00:56:00.360 --> 00:56:14.239
prime time. We'll be right back. We're back now, bitch. And

696
00:56:14.239 --> 00:56:17.239
and and the thing is is that
that little crow's nest up there on the

697
00:56:17.320 --> 00:56:22.719
cabooz right, that that crows nests
up there is kind of a ring around

698
00:56:22.760 --> 00:56:28.679
it. And then it's it's like
there's a well that drops down into the

699
00:56:29.679 --> 00:56:34.039
into the caboose itself, right.
And so I'm standing up there and I'm

700
00:56:34.039 --> 00:56:37.280
puffing the smoking, puffing the smoking, puffing the smoking. Why aren't I

701
00:56:37.360 --> 00:56:39.880
going a great job puffing the smoke
here, puffing the smoking, And all

702
00:56:39.880 --> 00:56:47.239
of a sudden, that fucking thing
nailed a snack and it's like it's like

703
00:56:47.440 --> 00:56:53.760
it shifted three feet. It just
shifted three feet, just boom. And

704
00:56:54.280 --> 00:56:59.679
it reminded me so much of being
an earth in California during your earthquake,

705
00:57:00.119 --> 00:57:04.000
Yes, because all of a sudden
you're just looking down and going, oh,

706
00:57:04.039 --> 00:57:10.280
well, wow, that's uh hmm, that sucks. Boom, that

707
00:57:10.440 --> 00:57:15.440
just goes like so tongue in cheek
with cannon like that's just an is such

708
00:57:15.440 --> 00:57:21.000
a cannon store? Yeah, I
I remember that we were doing we were

709
00:57:21.039 --> 00:57:25.719
doing sound uh uh, we were
doing playbacks, you know, watching uh

710
00:57:25.840 --> 00:57:30.039
daily the dailies as close as you
get to the dailies in Alaska, which

711
00:57:30.440 --> 00:57:35.960
which meant that was weeks It was
last week's ship, right, and we're

712
00:57:36.000 --> 00:57:39.639
watching it and and all of a
sudden, we we had that explosion.

713
00:57:40.960 --> 00:57:45.599
We had we had done an explosion
to make it look to obscure where the

714
00:57:45.639 --> 00:57:51.960
two uh when the two trains come
together, and we blew that thing,

715
00:57:52.440 --> 00:57:58.079
and uh, I see where we're
doing the playback on it, and it

716
00:57:58.480 --> 00:58:01.199
played back, and all of a
sudden, there's this enormous boom when the

717
00:58:01.239 --> 00:58:05.719
exposure went off, right, yeah, and I saw all of us were

718
00:58:05.800 --> 00:58:09.039
just our eyes were just like fucking
saucers, going okay, what the fuck

719
00:58:09.199 --> 00:58:13.679
was that? And what it was
is that we were at a ski lodge

720
00:58:13.840 --> 00:58:17.920
and right outside of the place that
we were watching this film, they had

721
00:58:17.920 --> 00:58:23.119
a howitzer that they fire out there
to they would fire it onto the hillside

722
00:58:23.400 --> 00:58:30.400
to make to make the avalanche ledges
fall down, right, So it just

723
00:58:30.519 --> 00:58:36.400
timed out perfectly that the explosion was
right howitzerer going off. We're just like,

724
00:58:37.000 --> 00:58:44.320
okay, well that was really weird. So so one. One more

725
00:58:44.400 --> 00:58:51.360
question about Freddy's Nightmares because you mentioned
working with was the name David Callowayway and

726
00:58:51.440 --> 00:58:54.159
Jeff Friley. What about Gil Adler? Did you work closely with Gill?

727
00:58:54.559 --> 00:58:58.880
Oh? Yeah, did you talk
to him? Yeah? Actually we had

728
00:58:58.920 --> 00:59:02.199
Gil and all kats on and they
were great to talk to about the show.

729
00:59:02.400 --> 00:59:05.320
Oh, Gill's a nice guy.
Yeah, yeah, he's a really

730
00:59:05.360 --> 00:59:09.199
cool dude. Yeah. For Friday, I could you know, Frolic was

731
00:59:09.239 --> 00:59:15.760
like making decisions that were above everybody's
you know, every once in a while

732
00:59:15.760 --> 00:59:19.000
he would come into the building.
I have to tell you he had a

733
00:59:19.119 --> 00:59:23.239
secretary that was the hottest fucking thing
that was walking on through I mean,

734
00:59:23.400 --> 00:59:28.400
I mean, I'm sure that Fridley
actually said things from time to time.

735
00:59:28.639 --> 00:59:31.360
It's just that he happened to be
saying them when standing next to his secretary.

736
00:59:35.039 --> 00:59:37.639
So you were credited as production designer
on all of season one twenty two

737
00:59:37.639 --> 00:59:44.159
episodes. Did they offer you season
two at all? Yes? Okay?

738
00:59:45.400 --> 00:59:49.800
And what was the decision? Did
you like punch a human shaped hole through

739
00:59:49.800 --> 00:59:54.760
a wall running in the direction You
know what I often say these things like

740
00:59:54.800 --> 01:00:00.480
that is if you hit your hammer
your hand with a hammer. Do you

741
01:00:00.519 --> 01:00:05.079
leave your hand in the same place? Fair? Very fair. I'm just

742
01:00:05.119 --> 01:00:07.639
saying, you know, I don't
know about you, but I moved my

743
01:00:07.800 --> 01:00:12.559
hand. Yeah, yeah. Was
Would you call Freddy's Nightmares one of the

744
01:00:12.599 --> 01:00:16.239
most challenging sets as far as time
and money resources, or would you say

745
01:00:16.239 --> 01:00:22.480
there's something more challenging than that that
came? I don't know, Holy ship,

746
01:00:22.719 --> 01:00:27.519
Michael. Look, look have you
read my resume. We've been looking

747
01:00:27.559 --> 01:00:37.199
at it all. I have no
fucking idea. It's like it's like there's

748
01:00:37.320 --> 01:00:39.880
just this thing that that that goes
you know. Uh, you know what

749
01:00:39.920 --> 01:00:43.639
they say about the eighties, if
you remember it, you weren't there.

750
01:00:43.679 --> 01:00:46.559
You weren't there. Yeah. Fair, that's a very fair point. I'm

751
01:00:46.599 --> 01:00:52.480
just saying, well, is there
any any last minute things that you want

752
01:00:52.519 --> 01:00:54.480
to say in regards to you?
To say? I have to say,

753
01:00:54.480 --> 01:00:59.440
though, it was it was really
bad. It was I remember one time,

754
01:01:00.159 --> 01:01:04.599
it was like around Thanksgiving, right, yeah, and I think that

755
01:01:04.679 --> 01:01:08.679
we were just we were like like
on episode twenty or something like that,

756
01:01:09.320 --> 01:01:14.159
and I was just fried. I
mean, I just you know, and

757
01:01:14.199 --> 01:01:21.440
I had this Mercedes and I go
home for Thanksgiving. I get home,

758
01:01:21.960 --> 01:01:25.159
you know, I was living in
Calabasas, and my kids and my wife

759
01:01:25.199 --> 01:01:31.320
and my dad and my mother were
over for Thanksgiving. And there was a

760
01:01:31.360 --> 01:01:35.400
little bit of rain, you know, as I got off the freeway off

761
01:01:35.480 --> 01:01:38.480
ramp, there was a little bit
of rain and my windshield I needed new

762
01:01:38.480 --> 01:01:43.960
windshield wipers. And I came up
to the door and I was like literally

763
01:01:43.960 --> 01:01:46.679
crying as I was walking in the
door because the windshield wipers had smeared the

764
01:01:46.679 --> 01:01:51.440
windshield and I could hardly tell where
I was going, and that had made

765
01:01:51.480 --> 01:01:55.000
me cry. That's how tired I
was. Yeah, And then and then

766
01:01:55.039 --> 01:01:59.360
my wife sent me out for milk, and I was walking around the store

767
01:01:59.639 --> 01:02:01.159
when my dad tried to find me. An hour and a half later,

768
01:02:01.360 --> 01:02:05.719
I was walking around the store picking
things up from knowing, well, that's

769
01:02:05.760 --> 01:02:09.920
not milk. Yeah, yeah,
like like spaghetti, like picking up fucking

770
01:02:09.960 --> 01:02:15.599
spaghetti. Oh that's not milk.
When uh yeah. When I asked gil

771
01:02:15.639 --> 01:02:19.719
Adler what he like if any of
the directors, like any of the directors

772
01:02:19.719 --> 01:02:22.800
he worked with, had like had
who had like the hardest time with the

773
01:02:22.840 --> 01:02:28.239
schedule and stuff, his exact response
was all of them, yeah, yeah,

774
01:02:28.360 --> 01:02:34.159
yeah, all of my God,
we'll make this has been an absolute

775
01:02:34.280 --> 01:02:37.239
pleasure. That your resume is super
impressive, for one, but also just

776
01:02:37.280 --> 01:02:42.800
hearing those stories has been amazing.
And also we've really really enjoyed rewatching Freddy's

777
01:02:42.840 --> 01:02:45.760
Nightmares, if you can believe that. But your your production design on it

778
01:02:45.800 --> 01:02:49.159
and the sets that we see,
I mean, they make the show super

779
01:02:49.199 --> 01:02:52.800
fun. Oh, thank you.
Yeah. No, I have to say

780
01:02:52.840 --> 01:02:58.239
that we really didn't take ourselves very
seriously. Yeah. Uh, there's an

781
01:02:58.239 --> 01:03:04.360
indidendum to all of this is Renny
Harland. Renny Harland. I had a

782
01:03:04.400 --> 01:03:09.239
meeting with Rennie Harland and I was
supposed to co work with him, and

783
01:03:09.239 --> 01:03:15.159
and this is how tired I was. Literally, I was like halfway through

784
01:03:15.159 --> 01:03:19.719
this show, right, and I
got into an argument with him and tried

785
01:03:19.760 --> 01:03:30.599
to defend Freddy's Nightmares and to Rennie
Harland, right, and yeah, I

786
01:03:31.679 --> 01:03:37.000
the thing is is nine Manum Street
four kind of worked despite Rennie Harland,

787
01:03:37.039 --> 01:03:39.079
right. You know, it was
a group. Now that's long. That's

788
01:03:39.079 --> 01:03:42.199
a long other story. I wrote
a book about it as a matter of

789
01:03:42.199 --> 01:03:50.760
fact. That's another story. But
so that's how brain damaged I was.

790
01:03:52.320 --> 01:03:55.079
I tried to defend I tried.
Oh you know, we're doing some great

791
01:03:55.079 --> 01:04:00.920
work down there. I had no
fucking idea. I was just you know,

792
01:04:00.199 --> 01:04:05.920
just sort of sort of like,
uh, I'm a hundred percent sure

793
01:04:05.920 --> 01:04:09.880
that a lot of times I couldn't
feel my fingers. Wow, you know,

794
01:04:10.239 --> 01:04:13.679
just fucking tired. Yeah. Yeah, So to this day, to

795
01:04:13.719 --> 01:04:16.000
this day, I'm sure that I
could have like gone on and and and

796
01:04:16.039 --> 01:04:20.000
done, you know, die Hard
eighty seven or whatever he did, and

797
01:04:20.199 --> 01:04:25.960
uh and and but uh, but
I was so tired. I was defending

798
01:04:26.000 --> 01:04:31.159
myself any Snymers. So that was
that was, that was the hill that

799
01:04:31.239 --> 01:04:35.000
I decided I was gonna die on. Well, we're happy that you did.

800
01:04:35.039 --> 01:04:39.159
We're happy that we had the series, and we we we are in

801
01:04:39.239 --> 01:04:44.599
great death to you on this,
yes very much. Well that's uh,

802
01:04:44.840 --> 01:04:49.119
that's disturbing. That sounds about right
for us. Is there anywhere people can

803
01:04:49.159 --> 01:04:56.800
follow you online or anything they should
check out? You mentioned that I I

804
01:04:56.880 --> 01:05:01.599
did a I wrote a book called
uh, behind the Screens and it's a

805
01:05:01.599 --> 01:05:05.039
book about nightmare. I'm Street four. You can't get it on Amazon.

806
01:05:05.119 --> 01:05:09.599
You actually have to figure out a
way to track me down. And I

807
01:05:09.639 --> 01:05:15.639
have not made it easy for anybody, you know. I made fifteen hundred

808
01:05:15.719 --> 01:05:18.599
of them. I think I have
about three hundred left. And if you

809
01:05:18.599 --> 01:05:26.400
can figure out how to get a
hold of me ding ding ding the challenge,

810
01:05:26.840 --> 01:05:31.960
then you immediately will lose forty dollars
and then I and then and then

811
01:05:32.079 --> 01:05:38.639
I will sign it and insult you. In fact, the last guy that

812
01:05:39.719 --> 01:05:44.599
bought a book I think I literally
literally was two days ago, and I

813
01:05:44.599 --> 01:05:51.280
think I signed it like thank God
for the child Protective Services, because otherwise

814
01:05:51.280 --> 01:05:55.400
I would have never been able because
I lost your dress and I never would

815
01:05:55.400 --> 01:06:01.159
have been able to send this book
back to you. Well, we appreciate

816
01:06:01.199 --> 01:06:03.480
it, man, Thank you so
much for every Thank you very much.

817
01:06:04.440 --> 01:06:14.800
Eh, You're welcome, all right, Well, thank you everybody for joining

818
01:06:14.880 --> 01:06:17.280
us on this interview with Mick Strawn. We're here on Welcome to Primetime.

819
01:06:17.679 --> 01:06:20.039
If you want to email us,
reach out and cut someone, just go

820
01:06:20.119 --> 01:06:25.840
to Freddy's Nightmares dot com or send
us an email at Freddy's Nightmares Pod at

821
01:06:25.880 --> 01:06:29.599
gmail dot com. We'd love to
hear from you. Yeah, and we're

822
01:06:29.639 --> 01:06:31.719
I mean, the show is wrapping
up. Kids, We are getting get

823
01:06:31.760 --> 01:06:36.880
your emails in, get your requests. It's almost time. But for now

824
01:06:38.000 --> 01:06:41.000
I need to get out of here
because I need to prepare Dave and I

825
01:06:41.159 --> 01:06:44.679
to go to a haunt this weekend. And I got you a touch pass

826
01:06:45.360 --> 01:07:02.960
and you just touch me. So
until next time, don't sleep