The Filmumentaries Podcast

--------------------------------------------------Our Joe Alves GoFundMe Campaign--------------------------------------------------Episode 129 – Max Evry on A Masterpiece in Disarray: David Lynch's Dune – An Oral History.In this episode, I speak with film journalist and author Max Evry about his brilliant and in-depth book A Masterpiece in Disarray: David Lynch's Dune – An Oral History. What began as a 150-page entry in a cult film series soon grew into a 560-page epic — much like the film it covers. Max and I talk about the origins of the project, how he managed to get David Lynch himself to take part, and why the oral history format was the right approach for telling this complex story. We also chat about the book's structure, Max's archive work, and how his own experiences as a filmmaker gave him a deeper empathy for the challenges Lynch faced. There's even a fascinating discussion about Max's restoration of a long-lost scene featuring Molly Wryn — which you can now watch here:You can find Max's book here. If you enjoy these behind-the-scenes deep dives, please consider supporting the podcast or sharing it with a film-loving friend - patreon.com/jamiebenning--------------------------------------------------Our Joe Alves GoFundMe Campaign--------------------------------------------------

Episode 126 - Inside the BFI National Archives - Film on Film Festival - Special EpisodeFor this early release of the podcast, I'm taking you behind the scenes at the BFI National Archive in Berkhamsted. The reason for the early drop? Tickets for the BFI's excellent Film on Film Festival go on sale to the public tomorrow, 9th May 2025, and I wanted to give you a bit of insight into what makes this event so special. The Film on Film Festival runs from the 12th to the 15th of June and is dedicated entirely to screenings on physical film – from 35mm to 16mm, and even nitrate. It's a rare opportunity to experience films as they were originally shown, in all their analogue glory. While at the archive, I spoke with several of the experts who help make the festival possible and who work daily to preserve the history of cinema. You'll hear from:James Bell – Senior Curator of Fiction and Programme Director, Film on Film FestivalChris Stenner – Film Laboratory LeadSonia Genaitay – Curatorial ArchivistMartin Coffill – Projectionist and QCDavid Jones – Film Scanning LeadA huge thanks to Kieron Webb and Sarah Bemand for organising the day. It was a real privilege to explore the archive, meet the people who keep the machines running and the prints in circulation, and to share it all with you here. If you're attending the festival on the 12th, please do let me know and be sure to say "hi".BFI Film on FilmAll my links

Episode 125 – Walter Murch: Suddenly Something Clicked (And 5 Years of Filmumentaries!) In this special 125th episode of The Filmumentaries Podcast, I'm joined once again by the legendary Walter Murch — editor, sound designer, director, author, and true philosopher of cinema. This also happens to mark five years since I launched the podcast, so it felt only fitting to celebrate with someone whose insights have shaped not only cinema itself but how we understand it. Walter and I discuss his new book, Suddenly Something Clicked, which is due for release on 8th May 2025 via Faber & Faber (thank you to them for kindly sending me a preview copy). The book is a rich mix of theory, practice, and history — true to Walter's description of it as a “twisted rope” of ideas. We cover everything from the evolution of editing, cinema as a biological and neurological phenomenon, the mysteries of sound design, and even the mechanics of live television editing. Walter reflects on the analog vs digital shift, why sound should be metaphorical as well as realistic, and how editing mirrors the way our own bodies process time and perception. We also get into Return to Oz, AI in filmmaking, and his thoughts on films like Adolescence and 1917 that attempt to eliminate the cut entirely. As ever, it's a joy to speak with Walter — and I hope you enjoy this episode as much as I did recording it.All my linksSuddenly Something ClickedOriginal 1977 Star Wars Screening

Hi all,Here's Rachel's second and final report from Star Wars Celebration Japan.We hope you enjoy it!

As promised, here's report of the goings on in Tokyo at Star Wars Celebration, day one and two from Rachel Pearson. More tomorrow.

In my previous episode I spoke with ADR specialist and dialoge editor Vickie Sampson. In that conversation she mentioned briefly about the time the Return of the Jedi audio recordings were stolen from her car. "That's a story for a whole other podcast", she remarked. So I contacted Vickie to ask her if she could record the story. She kindly obliged, and so here it is as a short Bonus episode for you folks!

Episode 124  Like many visual effects artists of a certain vintage, Jeff Okun didn't plan on a career in VFX. In fact, by his own account, he didn't even plan to work in film at all. "I'm a completely accidental human being," he told me with a chuckle. His ambitions began on a very different stage — as a stand-up comic — until a sharply atheistic routine delivered at home earned him a lifetime ban from performing in front of his parents. Instead, Okun's creative outlet took the form of magic tricks, homemade stunts, and Super 8 visual gags. “I would blow up model ships and fake fights in rush hour traffic,” he said, “and I'd be in the bushes filming with ketchup for blood.” All of this childhood chicanery ultimately gave way to a fascination with the trickery of movies — the kind of illusions you could only pull off with careful camera work, sleight-of-hand editing, and an appetite for mischief. Learning the Craft the Hard Way Okun's first job in film was with the legendary graphic designer and filmmaker Saul Bass. The experience was, in Okun's words, “awful,” but also profoundly formative. As Bass's gopher-turned-editor, Okun was thrown into the deep end. “I hated him,” he laughed. “But he taught me everything: editing, sound, post-production supervision, how to shoot, how to frame. It was a masterclass.” Working for Bass meant operating in a visually precise, effects-heavy style — layering camera moves, creating in-camera effects, and often relying on labor-intensive optical printing processes. When optical houses turned down Bass's business — too exacting, too expensive — Okun stepped in with cost-saving workarounds and pricing schemes that actually worked. “We doubled the budget, added a contingency, and somehow still landed exactly on target.”“By the end of it, I ended up loving the man,” Okun said. “Not because he gave me a break, but because he was so specific and difficult to please that when you did please him, it meant something. He learned how to prep lineup sheets, how to composite with interpositives, and how to break down 140-layer optical shots into manageable components. “I was just the fix-it guy. I didn't know what I was doing half the time. I still don't.” VFX by Way of Accident It wasn't long before optical houses and producers began calling on Okun when their films were in trouble. One fix led to another. His reputation grew as someone who could step into a crisis and calmly solve it — usually with a combination of ingenuity, humour, and brute-force trial and error. “I think Saul trained me to see puzzles. That's what it comes down to — seeing what's broken and putting it together in a way that works. Most of the time, it wasn't about having the right answer. It was about trying 50 wrong ones.” This kind of lateral thinking came into its own on films like Stargate (1994), where Okun — working with Jeff Kleiser and Diana Walczak's fledgling CG company — had to convince director Roland Emmerich that computer graphics were even worth attempting. “Roland didn't believe in CG. So we built the shot, made the CG glider deliberately less detailed to match the miniature footage. Showed it to him. He said, ‘Exactly — that's what I'm talking about. Miniatures are the way to go.' And we said, ‘Nope. All CG.' That's when he finally came around.” (Fun fact, VFX supervisor Jeff Okun was paid homage by Brent Spiner in Independence Day in the role of Dr. Brackish Okun. There's uh, a slight resemblance.) - Credit to Nofilmschool.comPenguins, Moose, and the Invisible Effect Okun is quick to point out he wasn't a Star Wars kid. In fact, he avoided the original film for weeks on principle — he doesn't do queues. But he did get a behind-the-scenes tour of ILM's original Van Nuys facility courtesy of Bass and George Lucas. There, he saw motion control rigs, Richard Edlund on his knees filming the crawl, Phil Tippett animating the chess game, and pyro tests in the parking lot. It was, he admits, a little magical — though it didn't change the fact that his creative allegiance remained with illusion, not spectacle. “My favourite effects are the invisible ones. I started out as a magician. The goal is to make people believe there's no trick. That's where the real artistry is.” Still, that didn't stop him from sneaking penguins and moose into the background of multiple films. He once gave a horse antlers in a Cameron Crowe movie. In Blood Diamond, he added a huge penguin family to a wide evacuation shot — no one noticed. “It's like the gorilla basketball video. You just don't see what you're not looking for.” The Shark That Ate Sam Perhaps his most famous — or infamous — contribution to pop culture came on Deep Blue Sea. Samuel L. Jackson had just delivered a particularly rough eight-page monologue, and Okun, unimpressed with the script, asked Jackson what he wanted to do. “He just said, ‘Kill me.' So I said, ‘If you make it to the front of the moon pool, I'll kill you.'” The surprise shark attack that interrupts Jackson mid-speech is now legendary. It wasn't in the script. “Renny Harlin didn't know until the day,” Okun said. “Sam did take after take but always got to the kill spot early. We cut the rest. I shot the elements. It was a massacre. We even had baby sharks pull him apart for fun.” The Changing Landscape Much of our conversation revolved around the changing realities of visual effects — the rise of AI, the complications of LED walls, and the shifting expectations from directors and studios. “People think VFX is just hitting the ‘do it right' button and then the ‘do it fast' button,” he said. “There's so little appreciation for how hard this stuff is, and we've done ourselves no favours by making it all invisible.” He sees today's VFX artists as increasingly anonymous — a shift he's spent much of his career trying to reverse, both through his own visibility and via his tenure at the Visual Effects Society. “We don't sell our artistry. We sell our software. You know the names of the DPs, but no one can name last year's VFX Oscar winners. That's not sustainable.” The Invisible War Stories At the end of our chat, Okun expressed a desire to tell more of the “true” stories of VFX — the screw-ups, the late-night fixes, the shots that weren't supposed to work. He wants more people to know that the chaos behind the curtain is often where the real creative breakthroughs happen. “It's always fun. That's the only reason I still do it. And when it's collaborative, when it's people bouncing ideas off each other, it's magical. That's when everyone forgets the pain and just remembers the movie.”All the Filmumentaries Links

Episode 123: Vickie Sampson – Dialogue, Detail, and the Art of Sound In this episode of The Filmumentaries Podcast, I speak with sound editor, dialogue and ADR supervisor, and filmmaker Vickie Sampson. Vickie's career began in the early 1970s, and she's since built up a mighty list of credits including Romancing the Stone, The River, Tank Girl, The Fifth Element, Ordinary People, and Return of the Jedi. She's also the daughter of the trailblazing Kay Rose – the first woman to win an Oscar for sound editing. We discuss:Growing up surrounded by film and soundHer hands-on experiences on shows like The Big Valley and The RiflemanThe vital but often misunderstood role of dialogue and ADR editingWhat makes a great production sound handover (and how so many indies get it wrong!)‘Temp love' and the challenges of directors getting attached to scratch tracksWorking with actors like Keanu Reeves, Meryl Streep and Sigourney WeaverHer time in London supervising ADR for Return of the Jedi – including a story about the reels being stolen from her carWhy clean dialogue is the bedrock of a good filmHer continued work as a director and teacherThis one's packed with stories, insights, and practical advice for anyone working in – or just obsessed with – film sound.

In this conversation, I speak with Howard Berry about his film project 'Her Name Was Moviola', which explores the art of film editing through the lens of a a traditional editing setup. Howard shares the origins of the project, his connections with notable filmmakers like Walter Murch and Mike Leigh, who are both involved in the projet. And the challenges he faced in acquiring the necessary equipment for the film. The chat highlights the technical aspects of film editing and the collaborative nature of filmmaking. We look at the intricacies of documentary filmmaking, particularly focusing on the editing process and the relationship between directors and editors. Howard shares insights into his experience editing a film about editing, the challenges faced during production, and the importance of preserving cinematic stories. We also touch on the film's reception at various festivals and the future distribution plans.The project began as an oral history of Elstree Studios.Howard's connections in the film industry were crucial to the project's development.Walter Murch's involvement was pivotal in shaping the film's direction.The film aims to document the process of editing, not just the final product.Acquiring vintage equipment like the movieola was a significant challenge.Howard's persistence in networking led to valuable collaborations.Mike Leigh's willingness to share footage was a turning point for the project.The technical aspects of editing are often overlooked but are essential to the craft.The film serves as a tribute to the art of film editing.Howard's journey reflects the importance of community and support in filmmaking. Howard emphasizes the importance of preserving historical stories in film.The documentary was always intended to focus on the technical and psychological aspects of editing.Walter Murch's preference for a nuts-and-bolts approach shaped the film's direction.The relationship between a director and editor can be tense yet collaborative.Critiques from directors can enhance the editing process and lead to better outcomes.Editing a film about editing presents unique challenges and pressures.Trust between filmmakers is crucial for a successful project.The film has received positive feedback from audiences and critics alike.Festival screenings have provided valuable exposure and audience engagement.Future distribution plans aim to reach a wider audience through streaming services.Filmumentaries LinktreeHer Name Was MoviolaThe Elstree Project

In this conversation, Jim shares his journey into the film industry, detailing how a little film called Star Wars inspired him to pursue a career in filmmaking. He discusses his early experiences in the industry, the evolution of trailer editing, and the critical role of marketing in film success. Jim reflects on his time at Castle Rock Entertainment, the challenges of marketing films like The Shawshank Redemption, and the importance of intuition in making marketing decisions. In this conversation, the speakers delve into the intricacies of film marketing, exploring the challenges faced in promoting films like 'Shawshank Redemption' and the impact of initial reception on a film's legacy. We discuss the evolution of film reception over time, about iconic directors like Stanley Kubrick and franchises like Harry Potter. Highlighting the importance of creativity in marketing and the unique experiences that come with working on significant film projects.Jim's book - Opening Weekend is available here!Shawshank Redemption TrailerAll my links

In this conversation, Maryan discusses her journey into the film industry, detailing her entry point after film school, her experiences at Industrial Light & Magic (ILM), and the challenges she faced as a woman in a male-dominated field. She shares insights into the creative environment at ILM, the collaborative spirit among teams, and the innovative techniques used in films like Return of the Jedi. Maryan reflects on her post-ILM career, the changing dynamics in the industry, and the importance of perseverance and creativity in filmmaking. In this conversation, Maryan reflects on her experiences in the film industry, particularly focusing on the creative processes behind visual effects, the impact of influential figures like George Lucas, and the transition from effects work to live action and music videos. We discuss the challenges of working in different effects houses, the importance of collaboration, and the evolution of technology in filmmaking. The conversation also touches on personal career transitions, the balance between work and family life, and the shift towards education in the arts.All my links

In this conversation, Gus Lopez shares his journey as a Star Wars collector, discussing the profound impact of Star Wars on film and culture, the evolution of collecting through the internet, and the importance of storytelling in the collecting community. He also delves into the ambitious plans for the Saga Museum, a collaborative effort among prominent collectors to create a public space for showcasing their collections and sharing their stories with fans. In this conversation, Gus Lopez discusses the ambitious plans for a physical Star Wars museum, focusing on fundraising, educational components, community engagement, and the importance of support from Lucasfilm. He shares insights into the collecting journey, the responsibility of preserving cultural artifacts, and the vision for a location that attracts both fans and tourists. The conversation concludes with ways fans can get involved in the project. TakeawaysGus Lopez was a Star Wars kid who began collecting early.The influence of Star Wars on film and culture is significant.Collecting became serious for Gus in the early 90s.Networking among collectors was crucial in the early days.The Star Wars Collectors Archive was a pioneering website.Collecting is seen as a social hobby by Gus.Every collectible has a unique story behind it.The Saga Museum project has been in the works for three and a half years.Collaboration among collectors enhances the museum experience.Legacy is important; sharing collections with the public is fulfilling.The museum aims to shareunique memorabilia with a wider audience.Fundraising is a primary focus, with a goal of $2 million.Educational components will span history, art, and science.Community support is crucial for the museum's success.Lucasfilm's endorsement is vital for credibility and support.Collecting requires a range of skills and experience.The museum will preserve cultural artifacts for public enjoyment.Choosing the right location is essential for attracting visitors.Fans can contribute through donations and merchandise purchases.The museum will create a space for both kids and adults to learn.The Saga MuseumTour of Gus's CollectionAll my links

In this conversation, Jamie interviews director Paul King about his documentary 'Shine On', which explores the making of 'The Shining' and its filming locations at Elstree Studios. They discuss their personal experiences with the film, the meticulousness of Kubrick's work, and the emotional connections that fans have with the movie. Paul shares insights into the production process of his documentary, the challenges faced during filming and editing, and the support received from the Kubrick estate. The conversation highlights the nostalgia and significance of revisiting iconic films and locations.All my linksShine On Documentary

In this episode of the Filmumentary's podcast, host Jamie Benning speaks with Sierra Dahl, the long-term partner of the late Colin Cantwell, a visionary concept artist known for his work on iconic spacecraft in films like Star Wars and 2001: A Space Odyssey. The conversation explores Colin's creative journey, his collaborations with legends like Stanley Kubrick and George Lucas, and Sierra's efforts to preserve his legacy through a revamped website and potential documentary. The discussion highlights Colin's unique approach to design, his contributions to NASA, and the impact of his work on popular culture.Colin Cantwell was a key figure in the creation of iconic spacecraft designs for Star Wars.Sierra Dahl shares her personal journey with Colin and his legacy.Colin's work with NASA included contributions to the moon landing broadcast.He was the first graduate of the animation major at UCLA.Colin's designs were influenced by his passion for quantum physics.He created the concept art for Star Wars before being officially hired.Colin's approach to design involved viewing ships as individual characters.His work on War Games showcased his programming skills and creativity.Sierra is dedicated to preserving Colin's legacy through a new website.The CSJ Foundation aims to inspire youth through STEAM education using Colin's work.Remember, if you visit colincantwell.com you can use code "FILM15" at checkout to get 15% off any of the items in the store. All my links

In this episode of The Filmumentaries Podcast, I sit down with cinema historian and walking tour guide, Nigel Smith. Nigel is the creator of Memory Palaces, a website project dedicated to exploring and preserving the stories of London's cinemas—both those still standing and those long forgotten. Join me and Nigel as we discuss:Nigel's early love of cinema, sparked by watching Superman II as a child.The evolution of his passion from movies to the buildings that housed them.The rich history of London's cinema culture, including iconic locations like the West End's movie palaces and quirky cinemas like the Prince Charles.Fascinating discoveries from Nigel's research, such as a Camden cinema run by a medium who let spirits dictate the programming.The enduring importance of community in cinema-going, from bustling matinees of the past to modern film clubs like Tufnell Park Film Club.Nigel also shares anecdotes from his popular walking tours, where participants bring their own memories to add to the tapestry of London's cinematic past. Whether it's the glamour of West End premieres or the humble beginnings of Victorian-era musicals, Nigel's storytelling brings the history of cinema to life in a truly unique way.For more on Nigel's work and how to join one of his walking tours, visit Memory Palaces.Links and Recommendations:Learn about Nigel's walking tours: Memory PalacesVisit the Cinema Museum in London: cinemamuseum.org.ukExplore the Kent Museum of the Moving Image: kentmomi.orgListen in for a fascinating conversation about the intersections of cinema, architecture, and community.All my links

Welcome to Episode 115 of The Filmumentaries Podcast. This time I'm talking to John Bell, a concept artist and art director whose career has spanned some of the most memorable films of the last four decades. From Star Trek IV: The Voyage Home to Jurassic Park and Back to the Future II and III,John's work has left a significant mark on cinema.  In our conversation, John takes us back to the early days of his career, when he transitioned from designing cars at General Motors to creating video game concepts at Atari, before finally finding his way into the film industry. He shares the story of how a speculative portfolio sent to ILM eventually opened the door to a career that included working alongside legends like Nilo Rodis-Jamero and Ken Ralston.We talk in depth about his work on Back to the Future II, where he imagined a future Hill Valley steeped in a mix of Americana and 1980s aesthetics, and Jurassic Park, where he brought bold, colorful designs to vehicles, props, and even the park's iconic branding. John also reflects on how collaboration is at the heart of filmmaking, with directors like Steven Spielberg and production designers like Rick Carter encouraging his input while shaping the look and feel of these projects.  We also cover his time working on Antz at DreamWorks, where he stepped into the role of production designer for the first time, and Rango, ILM's first animated feature.Throughout, John shares his approach to balancing creativity and problem-solving, and the importance of pulling inspiration from both his surroundings and his past experiences.  It's a wide-ranging discussion that touches on everything from the challenges of designing for science fiction, fantasy, and animation to how the industry has changed over the years. I hope you enjoy it.All the links

In this episode of the Filmumentaries podcast, I'm bringing you some updates on my work with ILM and sitting down with director Laurent Bouzereau to chat about his new documentary, Music by John Williams. We dive into the emotional punch of Williams' music, the process behind crafting the documentary, and Williams' lasting legacy as a composer. Laurent opens up about his experience working closely with Williams and the art of storytelling in documentaries, as well as the challenge of sifting through such a massive collection of iconic work.‘Music by John Williams' is available on Disney+ and in cinemas for limited release. UK Screenings of the filmSlimer Article at ILM.comAll the links

In this chat with Kevin Jenkins, we dive into our shared love for movies and what first sparked that passion. We swap stories about our childhood movie experiences and the films that got under our skin—like Jaws, Star Wars, and Close Encounters of the Third Kind. We talk about how these films not only shaped our tastes but ignited a passion for storytelling and artistry that's stuck with us.Kevin and I get into the risks filmmakers took back then, and how that raw authenticity contrasts with what we see in today's industry. We touch on the balance between practical effects and digital tech, and why having a passionate, collaborative team is crucial to making something memorable. There's a bit on the commercialization of genres and how fandom sometimes gets too caught up in nostalgia, missing out on new, original stories.We also cover how filmmaking has evolved with technology, especially for artists like Kevin, who transitioned from traditional illustration to digital tools. Kevin shares insights on how tech influences collaboration and creativity on set. He walks me through the role of a concept artist, the problem-solving and idea generation that goes into projects like World War Z and Edge of Tomorrow—highlighting the creative process behind creature designs and visual effects.When we discuss his work on Edge of Tomorrow, Star Wars, and Jurassic World, Kevin opens up about the challenge of finding the right design and the nuances of working within big franchises. He talks about the essential collaboration between art and costume departments to build a cohesive visual world. Finally, Kevin shares his ambition to work on a historical epic and emphasizes how flexibility and creativity are key in the art department.All the links

In this episode, I sat down with Jon Spira to dive deep into the making of his latest documentary, The Life and Deaths of Christopher Lee. If you're a regular listener, you know Jon's been on the podcast a couple of times before, and it's always a treat to hear him talk about his work.This time around, he takes us through the journey of bringing Christopher Lee's story to life—literally.Jon kicked things off by sharing what drew him to this project in the first place. Inspired by a mix of fascination and intrigue, he became captivated by Lee's enigmatic presence, especially after rewatching a rather unusual "This Is Your Life episode" featuring Lee. Jon's documentary doesn't just skim over Lee's storied career, from Hammer Horror to The Lord of the Rings, but it digs into the emotional layers of a man who, despite his towering on-screen persona, was often plagued by self-doubt and a desire to control how the world perceived him.We spent a good amount of time talking about the challenges Jon faced in portraying someone as multifaceted as Christopher Lee. It's no small feat to condense a career that spanned over six decades into a single film. Jon wanted to avoid the usual biographical pitfalls—just ticking off achievements and movie titles—and instead aimed for something more intimate and emotionally resonant. He wanted viewers to come away with a sense of who Christopher Lee really was, beyond just the roles he played.One of the more fascinating parts of our conversation was Jon's decision to use a marionette puppet to represent Lee. It was an unconventional choice, but as Jon explained, it made perfect sense for a subject who was so concerned with how his story was told. He originally toyed with the idea of CGI but felt that it lacked the emotional warmth he was looking for. So, he collaborated with Andy Gent, known for his work with Wes Anderson and Tim Burton, to create a beautifully crafted puppet of Lee. And who better to provide the voice than Peter Serafinowicz, whose deep, rich tones helped bring that puppet to life. Jon's approach allowed Lee to narrate his own story, with other voices occasionally chiming in to add a touch of warmth and gentle contradiction. It's this kind of creative storytelling that sets Jon's work apart—finding new ways to tell familiar stories.Jon and I also delved into some of the broader challenges facing filmmakers today. The industry is in a strange place right now, with budgets tightening, streamers changing their strategies, and the rise of new technologies like AI reshaping the landscape. We had a lively discussion about the role of AI in filmmaking. For one specific sequence in the film—recounting a moment when Christopher Lee witnessed the last public execution by guillotine in France—Jon's team used AI-assisted animation to breathe life into archival photos. It's a decision that has sparked some controversy, especially from certain corners of the American press, but Jon sees it as just another tool in the creative toolkit. He acknowledges the fears around AI and the impact it might have on jobs, but he also believes that, when used thoughtfully, it can elevate storytelling in new and exciting ways.Throughout our conversation, a recurring theme was empathy—something that Jon clearly values in his approach to documentary storytelling. He talked about how he always aims to create a sense of connection between the audience and his subjects, to show their humanity in all its complexity. For Jon, it's not just about documenting facts; it's about exploring how those facts feel, and how they shape the person behind the public image. In The Life and Deaths of Christopher Lee, this approach results in a film that isn't just a tribute to a cinematic legend but also a portrait of a man grappling with his own insecurities, just like the rest of us.We also touched on the state of cinema today—how trends are shifting, the uncertain future of theatrical releases, and what that means for filmmakers who, like Jon, are passionate about telling unique, challenging stories. It's clear that Jon sees the current moment as both a challenge and an opportunity—a chance to push boundaries and keep audiences engaged in new ways, even if it means embracing some unconventional methods along the way.All in all, our chat was a rich, multi-layered conversation, touching on everything from the intricacies of puppetry to the big questions about where the film industry is headed. It's a must-listen for anyone interested in the art of documentary filmmaking, the evolving landscape of cinema, and the enduring allure of a complex, larger-than-life figure like Christopher Lee.

In this conversation, TyRuben shares his journey into the world of visual effects and concept design, detailing the profound impact of films like '2001: A Space Odyssey' on his aspirations. He discusses the importance of self-permission in pursuing one's dreams, the skills he developed over the years, and his experiences at Industrial Light & Magic (ILM). He emphasizes the significance of collaboration, the fast-paced nature of concept design, and the evolution of CGI in filmmaking. He reflects on his work with industry legends like George Lucas and James Cameron, the transformative experience of working on 'Avatar', and his eventual transition into education and engagement with artificial intelligence.Key moments:Seeing '2001: A Space Odyssey' sparked my interest in visual effects.Self-permission is crucial for success in any field.Building a diverse skill set is essential for a career in VFX.Collaboration is key in the creative process.The fast-paced environment at ILM taught me to adapt quickly.Pitching ideas is a vital part of the creative process.Working with George Lucas was a dream come true.The experience on 'Avatar' solidified my role in the industry.Teaching is a natural progression in my career.All the links

Today's conversation is one I've had in the bag for a couple of months now . I had the absolute pleasure of sitting down with Andrew Whitehurst.Andrew's journey into the visual effects industry is one that really resonates with me, especially when he talks about his childhood fascination with movie magic and a certain BBC documentary. Yes, THAT one! Like many of us, it all started with a spark of curiosity. He pursued that passion at art college and gained experience in various roles, which eventually led him to become a visual effects artist. His early work on projects like Tomb Raider 2 and Troy paved the way for his role as VFX supervisor on Ex Machina, ultimately winning him an academy award.In our conversation, I got to dive deep into Andrew's experience working on films like Ex Machina and Indiana Jones and the Dial of Destiny. We talked about the challenges of creating realistic CGI characters and the meticulous attention to detail that's required for modern audiences. Andrew shares that belief in the value of using traditional tools like pencil and paper in the design process, and on the importance of looking beyond the screen to other forms of art for inspiration.Through our discussion, Andrew provided some great insights into the decision-making process for visual effects and how to strike that delicate balance between realism and audience expectations. Key points:A love for movies and a fascination with visual effects can lead to a career in the industry.Art college and self-learning are valuable for developing skills in animation and 3D software.Opportunities may arise in unexpected ways, such as working as a runner or doing graphic design for DVD menus.Being open to new roles and challenges can lead to career progression and working with renowned directors.Enjoying the process and having a good working relationship with colleagues are key to success in the industry. Ex Machina was a highly ambitious film with a tight shooting schedule and minimal pre-visualization and concept work.The design process for Ava focused on creating visual effects that could be executed like a regular piece of drama.The decision to use CG for Ava's head was made during the editing process, allowing for more creative control and a stronger visual impact.The design of Ava was influenced by a variety of sources, including racing car suspension, modernist sculpture, and human anatomy.The use of pencil and paper in the design process is a valuable tool for exploring ideas and understanding visual concepts. Taking the time to manually create something allows for thinking and feeling, which can lead to better results and creative collaboration.Observing the world and engaging with different forms of art can enhance creativity and provide inspiration for visual effects.Recreating a young version of a character like Indiana Jones requires a combination of techniques, including face swapping and machine learning.The use of high-resolution scans and archival material can help ensure accuracy and detail in visual effects.Closure on a project is important for maintaining mental health and allows for focusing on new challenges.All the links

This is a short bonus episode in which I interview author Kelly Knox about her co-authoring of "Return of the Jedi - A Visual Archive".Kelly Knox discusses her love for the Star Wars movies, particularly the original trilogy, and her experience co-writing the visual archive book for Return of the Jedi. The book focuses on the behind-the-scenes details and connections that branched out from the film. Kelly shares her favorite discoveries while researching for the book and the challenge of balancing the desire for detail with limited space. She also hints at future projects and her excitement for attending Star Wars Celebration in Japan.keywordsStar Wars, movies, original trilogy, Return of the Jedi, visual archive, behind-the-scenes, connections, research, book, interviews, panels, JapantakeawaysKelly Knox fell in love with the Star Wars movies at a young age and has been a fan her whole life.The visual archive book for Return of the Jedi focuses on behind-the-scenes details and connections to other Star Wars projects.Kelly enjoyed discovering new facts and information while researching for the book.She has plans for future Star Wars books and is looking forward to attending Star Wars Celebration in Japan.A video version will also be available on youtube.Enjoy!

In this episode, Jamie Benning interviews Doug Weir and Kieron Webb from the British Film Institute (BFI) about the restoration and screening of the 1933 classic film King Kong - 8th and 16th Sept 2024. They discuss the historical significance of the film, its pioneering visual effects, and its impact on cinema. They also talk about the process of restoring and preserving old film prints, including the challenges and techniques involved. The conversation highlights the importance of film restoration and the BFI's efforts to preserve and showcase classic films. The conversation explores the process of preserving and restoring classic films, with a focus on the upcoming screening of King Kong at the BFI Southbank. They highlight the collaboration with labs like Photochem and YCM Labs, which have a long-standing history in preservation and restoration work. The conversation also touches on the challenges of finding printing elements for preservation and the significance of preserving the original cinematic experience.BFI King Kong tickets.Glossary of film related terms.All the links

Jett Green shares insights into her upbringing and her journey into the world of matte painting, highlighting her work on Labyrinth, Howard the Duck, Temple of Doom, and The NeverEnding Story. She also discusses the collaborative and supportive culture at ILM, emphasizing the importance of teamwork in achieving remarkable results. Jett reflects on her transition from traditional painting to digital matte painting, as well as her current work as a fine artist in Maui.LinksAll the filmumentaries linkshttps://www.caroleenjettgreen.com/https://viewpointsgallerymaui.com/Nigel Smith Cinema walks in London

"Star Wars came and changed my life."Steve Sansweet, former bureau chief of the Wall Street Journal, shares his passion for movies and collecting, particularly Star Wars memorabilia. He recalls his childhood love for movies and science fiction, and how he started collecting science fiction toys and robots. He discusses the impact of Star Wars on his life and the collecting community, and his role in writing the book 'From Concept to Screen to Collectible'. Sansweet also talks about his time at Lucasfilm and his extensive collection of Star Wars memorabilia. Steve Sansweet discusses his favorite Star Wars collectibles, his role at Lucasfilm, and the growth of Star Wars fandom. He talks about his involvement in creating the Star Wars Encyclopedia and his time working on the special editions. Sansweet shares his experiences at Star Wars celebrations and the importance of fan engagement. He also reveals his favorite piece from the Phantom Menace era and discusses the challenges of collecting Star Wars merchandise. Sansweet reflects on his time at Lucasfilm and the future of Rancho Obi-Wan.Links:Donate ButtonAll the linksRancho Obi Wan have a big fundraiser taking place in Seattle Oct 5th

Last episode you heard part one of my conversation with Nilo Rodis Jamero, design legend and wonderful person. For this episode, number 106, the first of July 2024 you'll be hearing part two of our chat…On entering the gaming industry Nilo's focus was always about inspiring and guiding production teams to craft original and iconic characters and worlds. He's real advocate for originality and imagination in design, rather than leaning on copying existing designs or using AI to assist those designs.In our conversation, Nilo shares his experiences working with the legendary John Hughes, emphasizing the value of building relationships and understanding a director's vision.We also delve into the crucial role of production design in film and the unspoken code of acceptance when a director gives their nod of approval to a set.Nilo believes that good design should shake the viewer to their core, creating a unique experience. This means a lot of iterating and refining, but through this rigorous process, truly groundbreaking concepts can emerge. Collaboration is another cornerstone of Nilo's philosophy. He believes that the creative process thrives on the participation of diverse talents, each contributing their unique expertise to the project.This collaborative spirit is what drives innovation.Now you'll know if you listened to my chat with Nilo in 2021 and last episode that he's met a lot of key figures in the industry, in this chat he talks about n meeting influential figures like Hayao Miyazaki and Tezuka Osamu. These encounters have not only inspired him but also provided valuable insights into his design and storytelling work. But it's not all work for Nilo—his passions outside of work, like Formula One racing, bring joy and fresh perspectives into his life. There's a great bit at the end of this chat when I tell Nilo I work in F1, and he becomes the fan for a moment.So, buckle up and get ready to dive into the creative mind of Nilo Rodis-Jamero. This episode is packed with insights, inspiration, and a whole lot of passion for the art of design. Donate ButtonAll the linksPeter Kuran's "The Thing" Kickstarter

In this episode of the Filmumentaries podcast, host Jamie Benning interviews Nilo Rodis-Jamero, a designer and production designer known for his work on films like The Empire Strikes Back, Return of the Jedi, and Johnny Mnemonic. They discuss Nilo's experiences working with George Lucas, Phil Tippett, and Joe Johnston, as well as his collaborations with other renowned designers like Eiko Ishioka and Hayao Miyazaki. Nilo shares insights into his design process and the importance of simplicity and iconicity in his work. The conversation also touches on Nilo's involvement in the design of the character Buz Lightyear in Toy Story and his experiences as a production designer on Johnny Mnemonic. In this part of the conversation, Nilo discusses the challenges of working on movies with hard deadlines and limited budgets. He shares his experiences working with George Lucas and John Hughes, and how their approaches to filmmaking differed from the Hollywood norm. Nilo also compares working on Johnny Mnemonic and Explorers, both of which faced production difficulties. He highlights the importance of creative freedom and the impact of budget constraints on the filmmaking process. Nilo also shares insights into the differences between the film and video game industries, particularly in terms of discipline and the lack of a hard deadline in game development.This is only part 1 of a long conversation. Part 2 is coming up soon!TakeawaysNilo Rodis Jamero has had a diverse and influential career as a designer and production designer in the film industry.He has worked on iconic films like The Empire Strikes Back, Return of the Jedi, and Johnny Mnemonic.Nilo has rubbed shoulders with renowned designers and filmmakers, including George Lucas, Phil Tippett, Joe Johnston, Eiko Ishioka, and Hayao Miyazaki.His design process focuses on simplicity and creating designs that are easily recognizable and memorable.Nilo's work on the character Lunar Larry (who became Buzz Lightyear) in Toy Story showcases his ability to bring a character to life through design.His experiences as a production designer on Johnny Mnemonic highlight the challenges and dynamics of the filmmaking process. Movies are often made with hard deadlines and limited budgets, which can pose challenges for filmmakers.Working with directors like George Lucas and John Hughes, who prioritize creative freedom, can provide a different filmmaking experience.Films like Johnny Mnemonic and Explorers faced production difficulties, which affected their final outcomes.The film and video game industries have different approaches to discipline and deadlines, with games often lacking a hard deadline.Budget constraints can impact the creative process and the ability to achieve the desired vision for a film.Sound Bites"I like design that are very simple to digest and then reward the viewer with more details as they zoom in.""I work in an increment of a month. So, if, you know, can we agree on my terms?""The essence of that character is right there. Facially, like his expressions, his costume, his stance, like it's all there.""Movies are literally backed into a hard date, which is the release date.""The way Hollywood movies are made, it's the opposite of that.""I learned how to do movies the way George makes movies."Donate ButtonAll the links

Hi, this is a bonus episode. Sometimes I get invited to interview a particular behind the scenes artist and I've decided I should say yes to them and get them out as bonus episodes. So in this bonus episode, I spoke with stunt coordinator, Krista Perry. Krista is a, native Californian, who grew up travelling the country at the age of eight for competitive swimming. Finishing out her career as an All American Swimmer in the state of California. She is now a stunt performer and stunt coordinator, most recently working on Killers of the Flower moon and the series Reservation Dogs. So here's my conversation with Krista. I hope you enjoy it.TakeawaysThe stunt industry is male-dominated, but Krista found her way into it through her background as an athlete.Discipline and teamwork are crucial in both athletics and stunts.Body awareness is important in stunts, and technology allows performers to analyze their form and make improvements.Working with actors who lack physical awareness can be challenging, but having a double provides a backup plan.Script breakdown and casting for stunts involve finding the right people with the necessary skills and background.The adaptation to VFX in stunts has allowed for more creative possibilities.Trust and relationships are key in the stunt industry, and working with familiar team members fosters a sense of shorthand and communication.Working on both big and small productions offers different experiences and opportunities for learning.There is a potential for Oscars for stunts to recognize the hard work and contributions of stunt performers.Donate ButtonAll the links

Episoe 104 - This time I chat with Ahsoka producer and ILM VFX Supervisor, Richard Bluff along with his colleague Matthew Wood, Supervising Sound Editor.Key takeaways:The collaboration between sound and visual effects departments is crucial in creating a cohesive and immersive experience for the audience.Early involvement of sound in the production process helps inform the visuals and enhances the storytelling.The use of practical effects, such as miniatures, can provide a unique and grounded look to the visuals.Designing and creating sound for ships in the Star Wars universe involves a balance between familiar elements and new, unique sounds.The organic and mysterious nature of the Eye of Sion and the witches' voices in Ahsoka adds depth and intrigue to the storytelling.The balance between using technology and practical effects is a constant consideration in visual effects production. The use of LED screens allowed for interactive lighting and realistic reflections in the visual effects of 'The Mandalorian' and 'The Book of Boba Fett'.Collaboration between the visual effects and sound departments was crucial in creating the desired effects and atmosphere for the shows.The Howlers were created using a combination of motion bases, horses, and visual effects to achieve a realistic and dynamic performance.The creative team is constantly looking for new techniques and technologies to improve the visual effects and sound design of the series.Ahsoka is available to watch on Disney+.Enjoy!Donate ButtonAll the links

My guest for this second episode of May 2024 is production designer Nathan Crowley. If you don't know his name, you will definitely know and most likely love, his work..Behind Enemy Lines (2001)Insomnia (2002)Batman Begins (2005)The Prestige (2006)The Dark Knight (2008)John Carter (2012)The Dark Knight Rises (2012)Interstellar (2014)Dunkirk (2017)The Greatest Showman (2017)First Man (2018)Tenet (2020)Wonka (2023)Nathan is an incredibly talented artist that is able to create amazing worlds on screen. He's also a great guy and very easy to talk with. We had a great conversation just a week or so ago. It's avery fluid chat, but we do cover a few of the milestones in his career. Starting with Spielberg's Hook and finishing up on Wonka and Wicked. With much chat about Chris Nolan's films in between. Enjoy!Donate ButtonAll the links

For this episode, number 102, I am speaking to to gentleman that worked on the visual effects for Masters of the air, the Apple TV series which is a continuation of Band of Brothers and The Pacific. This time tackling World War Two airmen and their various missions.  So I chat with Xavier Bernasoni  who was one of the vfx supervisors on the show for DNEG and also two Steve jelly of Dimension studio who is responsible for a lot of the virtual production stuff, the big volume that you'll know from shows like The Mandalorian. Well it's now of course being used in many different ways in many different productions and not necessarily the ways that you would imagine...I hope you enjoy the conversation.Donate ButtonAll the links

In April 2024, I embarked on an unforgettable journey to California, starting with a visit to Skywalker Ranch, Lucasfilm and Rancho Obi Wan. And unfogettable three days.While at Skywalker Ranch I met with Sound Supervisor, Mac Smith and legendary Model Maker, Lorne Peterson.This episode is a report from those three days.Full written report with photosDonate ButtonAll the linksSkywalker Ranch Archives Fly-through from the blu ray boxsetArchives Tour with Don Bies from the laserdisc boxset

For this the 100th episode it seems fitting that it's someone who's name I've known since I was 4, 5 and 6 when my imagination was first sparked, looking through my Empire Strikes Back and Return of the Jedi comics and magazines.That name is of course Phil Tippett, one of those incredible artists whose work transcends the films he's worked on. His work is always full of a singularly tactile, grunginess that I love. Whether it's the chess pieces in Star Wars, the Tauntauns or Walkers on Empire, the Rancor in Jedi, the Dinosaurs in Jurassic Park or the bugs in Starship Troopers, Phil's work is always imbued with such great design and character. I've been an admirer of his work as I said, for decades now. And I was given the opportunity to speak with him in February of this year, 2024. I knew immediately I should save that conversation for my first milestone of 100 episodes.Thanks to everyone for their support since I've been making this podcast. It means the world to me.Donate ButtonAll the linksMichael Hewitt Brown Marathon Donation Page

For episode 99 I interviewed friend, David Whiteley. If you don't know David, you should! He's a news presenter, but also a huge Star Wars Fan. And, has made two fantastic documentaries about the subject. Firstly "The Galaxy that Britain Built" and secondly "Toy Empire". Both are a must-watch for fans like us.David also produced a book which gathers together the interviews his conducted for "The Galaxy that Britain Built". It's available on Amazon here. Check it out! And then BUY IT!Talking of books, don't forget that Justin Berger and I have now pre-released our Return of the Jedi - Unauthorized Timeline book as an ebook on Amazon.Donate ButtonAll the links

For episode 98, I am joined by my guest from episode 2, Giles Terera, actor, writer, musician and great friend of mine. He suggested to me a few months back that we should do a commentary on The Empire Strikes Back. So last month that's just what we did. I went up to central London to his flat, armed with two mics and we sat at watched and waffled over our favourite film.I hope you enjoy the episode. If you want to watch along, hit play on the movie just as the intro music (after my spoken introduction) ends. Or just listen to the episode for some chat and fun insights. I reckon we'll do a Return of the Jedi commentary at some point. Particularly because Giles has worked with several of the British actors in that movie.Enjoy!Donate ButtonAll the links

In episode 97 of the Filmumentaries podcast, I interview helicopter stunt pilot Fred North. Fred shares his journey from a childhood fascination with helicopters to becoming a successful stunt pilot in Hollywood. He emphasizes the importance of creating opportunities for oneself and having a shark-like drive to keep moving forward. Fred also discusses the art of flying a helicopter and the importance of connecting with the machine. He shares insights on working with directors and understanding their vision to offer creative solutions. TakeawaysCreating opportunities and having a drive to succeed are key to achieving success.Connecting with the machine and understanding its nuances is crucial in flying a helicopter.Understanding the director's vision and offering creative solutions can make a helicopter pilot invaluable in the film industry.Embracing mistakes and learning from them is essential for personal and professional growth.Chapters00:00 Introduction and Patreon Support03:35 First Encounter with Helicopter06:27 From Childhood Fascination to Becoming a Stunt Pilot08:20 Shark-Like Drive and Embracing New Opportunities10:42 Dealing with Mistakes and Learning from Them12:30 The Importance of Having an Open Mind and Connecting with People14:24 Writing the Book to Share His Journey25:08 The Role of Instinct and Connection in Flying28:21 Finding a Way into the Film Industry35:25 Understanding the Director's Vision and Offering Creative Solutions41:06 QR Codes in the Book and Making it Entertaining42:18 Closing Remarks and Future EpisodesAll the links

I hope you enjoyed my archival interview episodes in December 2023, one with Producer Robert Watts, the other with actor Garrick Hagon. Well now we are back to some recent interviews, I can tell you I've been busy lining these up ready for 2024! So… for the first, its a pretty big one, well it's a very big one - Thanks to the lovely folks at ILM, I was given the chance to interview director Gareth Edwards and his FX crew on The Creator. I'd be trying to get Gareth on via a mutual friend of ours but given Gareth is currently doing press about the nominations the film has received, so it was perfect timing.So you'll hear my conversion with Gareth along with VFX supervisors Jay Cooper, Ian Comley, Charmain Chan, Andrew Roberts and Jay Cooper as well as SFX supervisor Neil Corbould.There is an exclusive video version of the podcast on the filmumentaries youtube channel so that you can see all of us talking while I paint the interviews with some of the VFX breakdown clips ILM kindly provided. So if you can, head over to youtube to check that out.So, we talk about:Gareth's unique shooting techniques that enable large scope on a relatively low budget. And also the now famous use of the pro-sumer camera.How the collaboration between the on-set crew and VFX teams is crucial for achieving seamless integration of practical and digital elements.How anchoring VFX work to practical elements in the frame enhances the realism and believability of the visual effects.How real-world locations can provide inspiration and add authenticity to the film's design and visual effects.How the future of filmmaking with VFX lies in finding innovative ways to combine practical and digital techniques and finding the best tools to make the pipeline more efficient.We finish by talking about award recognition and what it means to them. All the links

Ok, this is another one from the archives, but as with the Robert Watts recording, I've been wanting to put this one out in podcast form for a while too.This is a conversation I had with actor Garrick Hagon back in 2015. If that name doesn't ring a bell, how about Biggs Darklighter.Yes, Garrick is well known for his mostly deleted scenes from Star Wars in which he plays Luke's best pal. I'd met Garrick in the green room at a Star Wars Trilogy day at the BFI southbank earlier that year. I'd been invited there by my old mate Toby Phlipott, Jabba puppeteer and all round good guy.Garrick and I got chatting about how I'd done an interview with Toby and created what turned out to be a very popular video from it. So I suggested we do the same. In fact both of those videos are still on my vimeo channel. So I'll also link to that in the show notes.As with all interviews, when making a video you often cut out certain bits that you don't need. But with a podcast you can make it more long form. So that's what I've done here. The interview was done over the phone, so it won't sound as good as some of my more recent episodes. But it's still definitely very listenable.All the links

This is one from the archives, but I've been wanting to put this out in podcast for for some time now.Its my interview with the legendary producer Robert Watts from back in July 2018.My cameraman buddy Paddy and I visited Robert at his home, and a lovely home it was too. He was on such great form and just a delight to be with. We arrived armed with some F1 signed caps from Hamilton and Vettel because a little birdy had told us he was a motorsport fan. And he was absolutely delighted. That little birdy was actually David Whitely, who is going to be a guest on this very podcast in the coming weeks.It wasn't of course ever intended to be a podcast, so you'll hear my questions slightly off mic, but of course this is all about Robert and his work on 2001, Thunderball, Star Wars, Raiders, The Empire Strikes Back and Return of the Jedi etc, so I'm sure you can forgive some audio irregularities. As the recording starts, Robert and I are talking about Stuart Freeborn and his creation of Yoda. You'll also hear friend of the podcast Paddy Tyndall ask the occasional question. I hope you enjoy it.All the links

Uncover the secrets of Mission Impossible – Dead Reckoning Part 1's breathtaking visual effects. VFX supervisors Jeffrey Sutherland and Simone Coco share insights on collaboration, challenges, and the art of crafting cinematic magic. Step behind the scenes and explore the dynamic world where reality meets creativity.I was recently given the opportunity, by the folks at ILM, to talk to two VFX supervisors that worked on Mission Impossible Dead Reckoning Part 1. Namely Jeff Sutherland and Simone Coco. So as you might imagine I jumped at the chance and within 24 hours we were chatting. In this conversation we discuss their work on Mission Impossible Dead Reckoning Part 1 and the unique challenges they face. They talk about the impact of practical elements on their VFX work, the importance of creating scale and believability, and the balance between realism and creativity. We also discuss the collaboration with stunt teams, the adaptation to new camera technology, and the always evolving role of VFX in filmmaking.They share their experiences in finding creative solutions and maintaining freshness and objectivity. Just so that you know who is who, Jeffrey is the first to speak after me, and Simone is the one with the Italian accent.All the linksThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

Now, for this exciting episode, I had the pleasure of speaking with Tom Spina.Tom is an avid Star Wars enthusiast, restoration specialist, and the founder of Tom Spina Designs and Regal Robot. In our conversation, we delve into his early love for Star Wars and those toys, his passion for computer graphics on his Amiga, his brief stint as a TD in live TV, and his current work in restoring historical movie props. We also touch on his Star Wars Celebration panel, his interactions with the film saga's crew, props, and monsters.It's a fascinating insight into his creative process, and I hope you enjoy our conversation.All the linksThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

For this episode, the second of November 2023, I spoke with director, producer and editor Jeremy Coon.Jeremy was the producer on the 2007 film Napoleon Dynamite. But I spoke to him in his editor director capacity about the new documentary “A Disturbance in the Force', which I was lucky enough to see at the UK premiere in London last week.The documentary chronicles the story behind the bizarre and legendary Star Wars Holiday Special. The 1978 TV special full of growling wookies, odd dance numbers and a “revisit” of sorts to the cantina, run be Bea Arthur usual and awkward appearances from the main cast of Star Wars. This is a shorter than usual episode, but I wanted to get it out to you before the documentary is released on 5th December So here is my conversation with Jeremy Coon, director and editor of Disturbance in the Force. I hope you enjoy it.All the linksThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

In this episode (number 90!!), I share an enlightening conversation with the creators of the "RoboDoc" series - a comprehensive documentary on the iconic sci-fi film, RoboCop. The team includes directors Chris Griffith and Eastwood Allen, and producer Gary Smart.The trio talks in-depth about how they transformed their passion project into a widely acclaimed series over several years. They reveal that their journey was far from smooth, battling legal issues, budget constraints, and meeting stringent fair-use criteria, among other challenges. Their tenacity to produce a series that deeply analyses every scene of the cult classic is ultimately what led to the final output.The documentary features over 100 interviews with cast, writers, producers, special effects designers and countless crew members of the Robocop universe to provide fans with an incredibly detailed and insightful look into this much-loved franchise. The creators finally discuss distribution, the importance of physical media, and their hopes for future projects.In the meantime “stay out of trouble”...ROBODOC: The Creation of RoboCop. A 4-part limited series detailing the making of the seminal sci-fi movie, RoboCop (1987)STREAMING NOW:

If you listened to episode 87 you'll have heard my conversation with the British Film Institutes Douglas Weir. He's Technical and Remastering lead there and does great work with his team to restore and release films from British classics to lost gems.He invited me back to talk to him and his colleague Vic Pratt - film historian and Video Publishing Producer.So I got together with them both at BFI Southbank last week to talk about some of their new projects.One of their blu ray releases out this month is Short Sharp Shocks a wonderful collection of short films which… well I won't say any more just now, you'll hear everything about it in out conversation.Just grab a glass of brandy, get a blanket and pull your chair closer to the fireplace. Enjoy.All the links!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

For this episode, number 88, I spoke with Mac Smith about the path he took to his career as Supervising Sound Editor and employee of Skywalker Sound, via marching bands, a chance meeting with Walter Murch, being propelled into the industry working for Robert Zemekis on Castaway. And so much more.Listen in for the full story.Thanks to the folks at Skywalker Sound for helping set this up.All the links!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

For this episode, number 87 I spoke to The British Film Institute's Remastering and Technical lead Douglas Weir. Doug had recently introduced a screening of Jaws at the BFI back in June of this year. It wasn't just any old print of Jaws, it was a near pristine dye transfer print that a colleague of Doug's found in the archive.After the screening which was amazing, I contacted Doug to see if he'd come on the podcast to talk about that print and about his career at BFI. It turns out he is already a listener of the podcast and was very keen to chat. So Doug invited me up to the southbank based BFI and along with his colleague, I got a back stage tour, checking out all the old projectors and film reels (I've posted some photos on the filmumentaries Instagram page). Doug and I then sat down for an hour for a chat, covering a multitude of topics including Jaws, the limits of restoration from both a techinical POV as well as what should be restored Vs what can be achieved.I hope you enjoy it.All the links!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

For this episode, number 86, I spoke with VFX Supervisor Charmaine Chan.We chatted back in mid June 2023 on a boiling hot day here in London. We talked about Charmaine's entry into the industry via running a website about a particular girl group that you might have heard of.She then went onto to be a researcher and compositor at ILM, and most recently a VFX supervisor on Gareth Edwards' visually dazzling, “The Creator” - out on 29th September 2023. I'm very much looking forward to seeing it. Listen in for the rest of the conversation.LinksVideos on VimeoReturn of the Jedi Timeline BookEtsy Shop - Buy your Jabba print hereFilmumentaries MerchSupport the Podcast on PatreonLinktreeThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

For this episode, number 85, the firstone of September 2023, I have VFX supervisor of choice for both Spielberg and Scorcese, namely Pablo Helman.Pablo and I spoke back in June 2023 about his career path and his work for Stephen and Marty. There will be a video version available for those of you that contribute via patreon on the second tier.Pablo left his home of Argentina in the early 1990s to work in the VFX industry in California. He initially worked on films like Apollo 13 and Strange Days before joining ILM in 1996.He went on to work on Jurassic Park 2, Contact, Saving Private Ryan, The Phantom Menace and more recently The Irishman, Mank and The Fablemans. A fascinating guy.LinksReturn of the Jedi Timeline Book - Register your interest!Etsy Shop - Buy your Jabba print hereFilmumentaries MerchSupport the Podcast on PatreonLinktreeThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

This time I have the pleasure of sharing my conversations with Skywalker Sound's Co-Supervising Sound Editor Matthew Wood, Sound Designer David W Collins and Re-recording Mixer Danielle Dupre.I spoke with Matthew and David together and then separately with Danielle.Matthew and David are Emmy nominated for Mandalorian Chapter 24, Matthew his also nominated for his work on Obi Wan Kenobi Part VI (6)Danielle has also been nominated for her work on Obi Wan Kenobo part 6.So first of all you'll hear my conversation with Matthew Wood and David W Collins then after the ads you'll hear my conversation with Danielle.I hope you enjoy it.LinksReturn of the Jedi Timeline Book - Register your interest!Etsy Shop - Buy your Jabba print hereFilmumentaries MerchSupport the Podcast on PatreonLinktreeThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

For this, the second special Emmy nominees episode I got to speak with friend of the podcast and former guest VFX Animation Supervisor Hal Hickel (check out episode 68 for that conversation) along with Grady Cofer, Production Visual Effects Supervisor.We chat about their work on the show, the balance of innovation and tradition, the use of certain tools of their trade and the collaborative nature of VFX work.LinksReturn of the Jedi Timeline Book - Register your interest!Etsy Shop - Buy your Jabba print hereFilmumentaries MerchSupport the Podcast on PatreonLinktreeThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

Welcome to this special episode of the Filmumentaries Podcast. Episode 82 in fact. Today is a small diversion from the usual. Rather than film history, I have three guests who are very much part of the film now, or TV now. These three gentlemen are at the forefront of VFX on Disney+'s Emmy award nominated show, Andor. Genuinely one of my favourite shows for a long time. So for this month, August 2023, there will be three episodes, all conversations with ILM VFX and Skywalker sound artists and technicians in celebration of their Emmy nominations.Now if you are a regular listener to this podcast you'll know that I hosted a panel at Star Wars celebration here in London back in May - I mention it to literally anyone that'll listen. HAHA. On that panel were VFX experts Mohen Leo, TJ Falls and Scott Pritchard as well as special effects supervisor Richard Van Den Bergh. Now due to a complication backstage the panel was not recorded save for a few snippets that the ILM team shot.So I dedicated a whole episode to Richard Van Den Bergh about his career in special effects. That was episode 80 . And while not an episode specifically about Andor, we did talk about the show a little. (do check it out)Then very recently ILM got in touch and asked if I'd like to interview the three VFX guys on the podcast. They along with Richard have been nominated in the category of Outstanding Special Visual Effects In A Season Or A Movie. I immediately said yes and within 24 hours I was chatting with these wonderful artists again.So here's my conversation with Mohen Leo - Production VFX Supervisor, TJ Falls, VFX Producer and Scott Pritchard, ILM VFX supervisor…LinksReturn of the Jedi Timeline Book - Register your interest!Etsy Shop - Buy your Jabba print hereFilmumentaries MerchSupport the Podcast on PatreonLinktreeThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement