Henry, Graphics

(00:00):
Hello film friends, friends of film and everyone in between.

(00:13):
Welcome to the Film Folklore Podcast.
I am Jed Props and I am joined today by Zoe Props and Justin Sound.
Hello.
Chris could not be here.
He was actually going to be here, but he had a last second text message.
Zoe, where's Chris?
Chris is somewhere.
I got this.

(00:36):
Wait, I'm sorry.
Justin, where is Chris?
He's playing in two bands at once.
The truth is finally out.
He's at two different band practices.
He's got a clone.
So that's where he's at.
I just imagine he's in the Bugs Bunny get up where it's like the multiple instruments

(00:59):
in one instrument.
I'd like to imagine that he fell into a pile of manure back to the future style.
That's why he couldn't come.
He made like a tree and got out of there.
That might have also happened.
Getting from one band to the other.

(01:21):
That's all making sense because I thought he was saying the name of the band was manure,
but now I'm realizing he fell into a pile of manure.
He was being literal.
All right.
Well, there you go.
We have a really wonderful guest today and in my opinion, equal parts fun and stressful

(01:43):
job, but we'll let them weigh in on that.
I do think this is a great guest too for non-industry listeners because this job is behind a lot
of how does that work type of questions people have.
But first, real quick, we're going to talk props in the art department.
So thinking about some of your favorite movies and TV, can y'all think of any iconic like

(02:07):
fake products or funny billboards, wall posters, et cetera, anything like that that stands
out to you to kind of maybe get the memory going?
I have some examples here like a cyber dying systems in Terminator, the red logo that's
very iconic or a Bron-Do in Idiocracy, the Gatorade.

(02:30):
Sure, sure.
It's got electrolytes, but can y'all think of anything specific?
It could be a show logo, Ghostbusters, for example, is very iconic.
I'll say Silicon Valley does a really good job with a lot of their takes on the larger
companies that they're kind of making fun of.

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Hooli.
Hooli instead of Google.
Some of those are some of my favorite.
That's a brilliant show.
I mean, that, you'd watch Severance, watching all their loom and stuff.
That's right, which I haven't started season two yet.
Have you started season two?
Oh, big time.
I better get into it tonight.

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Yeah, so we also have a lot of fake prop products specifically that we can buy already made
stuff from the graphic departments of the major prop houses.
So like the hand prop room or ISS target props, those bigger groups, they all have their own

(03:38):
graphic departments and they have kind of pre-made packaged, it could be fast food branding
or something like that.
And without going into it, because there's a whole clearance legal thing that has gotten
silly in our industry and out of control and it's not interesting.
But where that stuff can help is if we're maybe in a tight time sensitive issue or maybe

(04:03):
we just don't have time to have a graphic done.
Maybe we're on a show that doesn't have a graphic person.
That sometimes has happened.
So there are certain things we can get in a pinch, but generally we need a graphics
person and that graphics person is making all these things for us.
And it can be anything like a soda can, popcorn bucket.

(04:27):
Some of the, oh, right, I have it listed here.
Some of the maybe more iconic pre-made ones that come from the studio houses are Morley
cigarettes, the ripoff Marlboro cigarettes.
X-Files.
Right, classic.
What was the fast food restaurant from Coming to America?

(04:47):
Oh God.
The dad was just on a show I was watching today, oddly enough.
Oh man, you broke my brain.
Tell you who would know.
But like Heisler beer is another one.

(05:10):
If you've ever seen Heisler is a, I think that one comes from ISS, I believe.
But yeah, there's a lot of these pre-made ones.
And then we also get stuff that's made to be show specific, kind of the things that
we've mentioned.
And there's also a time, and this is the other thing I wanted to ask you all.
Are there times that you've noticed the fake stuff?

(05:33):
Like the fake stuff sticks out because it's fake.
Yeah.
Yeah.
It's usually with TV.
TV especially.
You know, there have been times where you just, you see a beer and it's like, well,
that's just doesn't look like a great label, you know, to me.
Right.
It's like a background thing.

(05:53):
It's usually food or drink stuff normally for me.
And that's just because I don't know, you know, we spend a lot of time, I mean, I worked
on a show where we covered everything in decals, a lot of toiletries and beers because everything
was supposed to be period in the nineties.

(06:14):
So a Barbasol toothpaste, we needed the whatever, however their logo looked in 1990, whatever.
So yeah, there was just a lot of that and a lot of it's rushed too.
And yeah, I've noticed there's some things.
In those situations, I try it now.

(06:38):
There are a lot of variables, but I try to, I'm trying to think of an example, like, like
maybe it's the nineties and they just need a snack.
It doesn't need to be a specific snack necessarily, but they want a snack.
Then I'll try to find who is currently doing maybe a retro packaging or whose packaging

(07:00):
hasn't altered that much over the years.
And that's an easy work around maybe to, to getting some of that period stuff.
But a lot of times to your point, if it's like, maybe we're on a show that has a deal
with Pepsi, but this is supposed to be 1993.
Well, now we're going back to the product placement agency.

(07:26):
That's like the middleman and saying, Hey, we need the graphics from your, your client
so that we can recreate the vintage packaging for that situation.
So it is, it is definitely a thing that it comes up a lot.
Actually I have three, three main reasons for using fake products.

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And I have the story is set in a fictional universe that forces the need for fake graphics.
So there's that a scene that calls for some type of graphic, maybe a poster or a beer,
but the scene is sensitive.
Maybe it's a violent or a lewd scene, for example.
And so a real, a real brand maybe doesn't want to be seen in the same scene as something

(08:13):
negative.
And then the third thing is a lot of network TV and some other TV where there can be ad
sales heavily involved, maybe competing brands.
And so it's easier or safer to use fake products.
This is one of the many reasons I hate working in television because you can, you know, say

(08:39):
for prop purposes, I can, I can go, Oh, great.
You know, my, my Apple rep is able to get us, you know, six laptops that'll serve this
need that we have on this.
And then maybe after I've made this deal, I'm finding out from the company that it's
like, Oh, well we were a Microsoft exclusive show.

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And you're going, well, you could have said that first, because now I've wasted time.
But also I just hate these rules being put into place that makes things feel unnatural
because you know, the reality is not everybody should have an Apple laptop.
Not everybody should have a Microsoft.
There should be a mix of these things because that's the reality of it.

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But sometimes this is why I was asking you about the fake stuff.
Sometimes I feel like these things can, can be more distracting and kind of take you out
of the story if they stand out too much.
And there's an interesting fine line between not turning something into a Coca-Cola commercial,
but also not having a soda can that just says soda on it.

(09:44):
So yeah, it's, this is a really lame example, but the show.
The Disney show or maybe Nickelodeon.
I don't remember.
I Carly.
It's whatever the hell it is.
It's a girl from school of rock.

(10:04):
That's all I can say.
Yeah.
It's a girl from school of rock, but their products in it.
And I think her whole thing is like, she has a YouTube channel, who the hell knows, whatever.
But her laptop is, you know, it's not the Apple logo.
It's like, it's some other fruit, like a pear or something.
And I remember, you know, even being younger, being like, that's really distracting.

(10:27):
But that's, that's what I think of immediately is just like very obviously not that doesn't
exist.
You should have just covered it up and not had it just be this, I don't know, weird Apple
other fruit thing.
Yeah.
I think I'm the opposite.
I don't don't, I don't notice as much when, when things are bad, like this soda can that

(10:47):
just says soda wouldn't bother me.
I don't think.
Oh, really?
Yeah.
Well, we are speaking from a department.
So for sure.
Yeah, absolutely.
Yeah.
I think I notice it more when, when things are done really well and I can, oh, that's
a cool brand.
I would, I would totally buy that.
You know, it's fake, you know, that's you bring up a good point too, in the design itself,

(11:09):
that sometimes you'll see stuff where the design maybe just doesn't feel realistic enough.
Like there's just something about that looks fake and less natural and kind of to your
point with Silicon Valley, they really did do a great job inside of that universe.
That's that's a show that, I mean, I was just, we were just talking about this on the terrible

(11:33):
thing I won't talk about that I just had to work on.
But what we were talking about on it was if you have a show that's about, that's about
farming, well, by God, you should have a lot of money invested in the farming aspect of
your show, such as the tractor, the equipment, the, the, the farming tools, the costume and

(11:54):
clothes for the farm, the location of the farm, the animal wrangling of the animal.
That is not something you should be skimping financially on because it is the crux of your
project.
You can see where maybe we were having an issue on the thing I was working on because
the money was not being put where it should have been.

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And Silicon Valley is definitely one of those shows where you can see they very smartly,
anything obviously tech related, but also in the design and the graphics and everything
else like it's, that's just a really well done show.
I kind of want to go watch it again.

(12:36):
It's up your alley.
You should watch it.
It's, it's a good, Zach Woods is in that.
Yes.
Right.
I love Zach.
Yeah.
I love Zach.
Oh, yeah.
I love Avenue five.
So he's OJ and you can watch the show to figure out why he's OJ.
Okay.
Okay.
Okay.
Yeah.

(12:56):
That was the first show I really noticed him in and fell in love with him as an actor that
he, he's so good in that show, but I mean, everyone's great in that show.
I would like to say just one more thing that distracted me in a show.
And I think this, this was very much so real and I had to stop and rewind it because I
actually missed what happened in the scene because I was so distracted.
They're eating Cheetos, but it is Cheetos that I've never seen before, but it is the

(13:18):
Cheetos brand, but they're like these giant twisty Cheetos and I've never seen in my life
and was just really freaked out by them.
So maybe the real brands are, no, it was just, it was this giant fucking Cheeto.
I couldn't, I couldn't get past it that he like, um, it was a, the new season of true

(13:39):
detective night country, whatever.
Um, but he gives this person Cheetos and a soda and they were the weirdest Cheetos I've
ever seen.
It's all I could think.
And then I might have a theory.
Yeah, go ahead.
What is the packaging?
Could you see the packaging for the Cheetos?
Yeah, it was Cheetos.
It was proper Cheetos.
It was a standard Cheeto bag.

(13:59):
It was, it was proper Cheetos.
Yes.
Then I don't know.
I think, yeah, I think it was like, uh, maybe even like a regional thing.
Maybe then I'll sell those down here.
I don't really know what was going on, but these Cheetos were gigantic and twisty and
it's all I can think about.
We literally had to rewind the scene because I finally turned and I was like, man, I'm
really distracted by these Cheetos.

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And Ross was like, oh my God, I have no idea what they just said.
Did I forget what a Cheeto looks like?
And that was really blowing my mind.
So you know, that's fantastic.
Yeah.
My, my, my guess was going to be because now all of that candy and junk food, uh, world,
if y'all haven't noticed, rather than come up with new ideas, they're just merging existing

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things.
Yeah.
So they're like, Hey, if you like nerds and you like Cheetos, why don't you get Cheeto
nerds?
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Uh, it's, they're, they're all, I feel like everything is like that now where.
Well there's a, that's show.
There's a show called upload on, on, uh, where they, where they actually do a lot of that

(15:08):
where there's a lot of these giant corporations who have now merged.
And so you have things like, um, Albertson sprint.
Sure.
Yeah.
It's, it really is terrible.
And uh, uh, getting, uh, stocking stuffers is where I really was noticing it, uh, last

(15:29):
Christmas cause I'm just, you know, shopping for random things to throw in stockings.
And suddenly I'm going like, when did nerd clusters become a thing?
I'm stuck on nerds right now.
Yeah.
But you know, and then, and then it's nerd clusters have been around.
It's like a rope.
It's like a rope.
Oh no, no, no.
I'm sorry.

(15:50):
It was where they have nerd ropes.
It was the gummy.
Yeah.
It was the gummy nerd combo rope thing.
I think we know far too much.
Oh, I don't know.
Yeah.
I feel like they used to do that more.
It's those Doritos that were like, sweet tart common or a combo one as well, where it's
like the sweet tart and maybe Twizzlers have been roped or into it.
I don't know.
But for a while the FDA was slowly banning every dye color that went into her.

(16:17):
These are all gray.
Um, anyway, uh, but yeah, um, I guess getting us back on track, um, as the title of the
episode was suggested, we are talking to a graphic artist today and, uh, we're going
to talk a little bit about, uh, um, how the graphics get to, uh, get to get to picture.

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So without any further ado, we want to welcome, um, uh, my friend, uh, Henry, uh, Henry graphics.
So welcome Henry.
Welcome.
All right.
So we are going to jump in.
Do we, do we get a sound rolling?
Oh, we can.
Sound speed.
Sound speed.

(17:04):
That's it.
There you go.
There it is.
I don't, you're not on set too much.
Ever.
Okay.
As we're about to find out.
All right.
Well, here we go.
Sound speed.
Hi, Henry.
Thanks for coming on the podcast.
I'm glad to be here.
So, uh, you are a graphic designer by trade and, uh, and that's your official title, right?

(17:28):
Correct.
And, uh, and so I think to get us going, um, we're going to go a little bit into the past
as we like to do.
Um, what got you into design originally?
Um, like, uh, were you an art kid growing up or a computer kid and it just kind of merged
or both?
Both.
Uh, it's all tracks.
Oh yeah.
My dad is a computer engineer.

(17:51):
He does networking and everything.
And we always had a computer in the house my whole life.
There's amazing photos of me in diapers using DOS and still being able to play Pac-Man.
I could load it myself.
Oh, wow.
So what was that computer?
Oh man.
It had to be like a Commodore 64.
I love that.

(18:12):
Um, I, we coveted, uh, we had like a wealthy cousins kind of situation.
And so they had an Apple two C. We had an Apple and, uh, I, I remember we were all coveting
that, um, cause it didn't have color.
It, I don't, yeah, I don't remember it having color, but it did have print shop.

(18:32):
And uh, that was like the very first of its kind that I recall of any kind of like home,
uh, making.
Others had, if you threw away anything icon on the desktop into the trash and then said
empty trash can Oscar DeGratz will come out and sing that he loves trash.

(18:54):
So I would just create icons and delete them.
Okay.
Wait, what the, this, this wouldn't have been like earlier eighties.
This would have been like 89, 89, 90.
Okay.
And so, uh, with computers and art at your disposal, um, uh, what was it like scholastically

(19:17):
that they came together or eventually?
Yeah.
Uh, I had a lot of software that I use growing up.
I had, uh, at one point using some type of drawing and let you animate with a little
onion skin.
I drew my own South park episode.
Oh, okay.
Uh, and then I got into a software called true space.

(19:39):
It was, uh, came on like eight discettes and, uh, it was like a first 3d rendering software
and I started doing that.
And then in high school we got to go, uh, we had great art at brother Martin, but we
had the fight to try and go to Noko to do visual artwork there.
Great institution.
And uh, it's become infinitely better.

(20:03):
It's since you were there.
Oh God.
Yeah.
And then since then I went to tooling for software engineering or software application
and design.
And, uh, I learned a lot of the psychology of like intuition on an application or any

(20:23):
type of like software or program you're using on your computer, be it a website or anything
you need like the actual psychology of where the mind's going to go.
And something looks like a button or it feels like you can press it.
Like there's one that I actually really liked that I know iOS does it.

(20:44):
I don't know if Android, but the very bottom of the screen, you don't really notice the
three dots or how many dots of how many pages you have, but your brain picks it up and you
notice swipe there's little dots because it'll move.
Oh, interesting.
That's all part of like the psychology of design.

(21:05):
It makes sense.
I've just never given it thought.
And I'm assuming that same knowledge would be what goes into a lot of development and
add, you know, um, how to make something aesthetically, uh, where your eyes go to raise their whole
lot of like rules of like, there could be text up top, but your eyes automatically read

(21:26):
something else based on whatever.
And even with text size, uh, color palette, color theories, everything can, can be fueled
by just the psychology of designing something.
And it's a lot of fun.
And that's, that's what I started getting into.
Okay.
Were you ever in a test group?
Uh, I always imagined those, those rooms where it's like, you got the control group and the

(21:48):
other group and there's people looking through the one way mirror kind of thing.
And, uh, but I did have to learn.
It's weird that you have it.
We're swiping just the way we want them to.
It was a lot of like, I had to learn how to speak that creative talk, like where you show
them and then this is why I did it.

(22:09):
And I had to like take an extra class and get to, because I was just like, that's because
I did it.
Oh, weird.
Like an extra class and just how to explain your homework in a, in a, yeah, I did it
because I was looking up at the sky and notice a Ryan's belt and it was just something I
needed to translate.

(22:30):
Like, sure, sure.
It's just like that jargon that people want to hear.
Apparently that reminds me of, um, if you ever go to an art show and you see the synopsis
that's with the artwork that they're always, they always make the artists have to put some
kind of something on it.
And it's not always, but oftentimes horrifically written and dumb and over-explanatory.

(22:54):
Nobody's apparently allowed to just say, I just did it because I did it.
Yeah, right.
Exactly.
They want to know what were you feeling while you did it?
Now that I'm remembering that there was, uh, there was an artwork piece that was literally
on the floor corner of the space and it was a handmade, uh, ceramic teacups and they were

(23:15):
in a haphazard pile.
Many of them broken.
It literally looked like trash on the floor and it was just a pile.
And then you realize, oh wait, that's an art piece.
And then when you read the thing, I remember it was saying like teacups fragile, like our
own lives, but you know, like that kind of stupid talk.
And then you're going like, oh, that's really lame.

(23:35):
Like bitch, you dropped your art project.
Yeah.
I'd love to be able to go back and say that amazing photos of an exhibition.
It was an exhibition.
Somebody dropped their glasses on the ground and people were taking photos of it and everybody
was crowded around.
Michel Duchamp would be rolling in his grave and no, it was just somebody dropped their

(23:58):
glasses.
There was no deeper meaning.
That's really funny that.
So half of the education you just described, I didn't know existed until you said it.
But I love that there's a class that you can take to explain or teach you how to explain
what you did on something.

(24:18):
That's wild.
Now when you were growing up, were you also like a movie kid or?
Yeah.
Oh, we had a lot of cameras.
Like I see you have eight millimeter Elmo down there.
I used that before.

(24:40):
And then when the world of digital came about, I was doing everything I possibly could to
get ahold of a digital camera to do stop motion.
And then when I figured out I had a video feature on it, that was it.
I was making films.
That's cool.
And I mean, what was your South park episode about?

(25:02):
I don't remember because it didn't have audio.
I had to type everything out too.
I know Kenny died.
Okay.
That's good.
I can promise you that.
I made it around the time that it was probably season one of South Park just came out.
And I was just like, this is great because I love stop motion.

(25:24):
These guys literally use cardboard and construction paper to make a TV show.
I'm excited.
Like I've made clay figures all the time, like all kinds of stop motion.
And then when I get the digital camera, I could finally go outside and film something.
And I had a TV show in my mind that we tried to make.

(25:47):
It was called Scott the Time Cat.
And it was about my cat stealing essentially a DeLorean style car.
And my cousin was the main actor and he would just get stuck in the car with the cat driving.
And the cat would just bring him around to different times and he ends up messing up

(26:11):
his own timeline.
And when they get back, he's a girl.
Okay.
Your friend or the cat?
No, the cat.
Okay.
But it's the cat.
The cat was just essentially being a cat with time.
So he's just knocking time over.
Okay.
I see.
Cute.
Yeah.
We filmed a lot of it and it went nowhere, but it was an excellent idea.

(26:34):
And it was a lot of fun just spending time out.
Is it like Toonces the cat with time instead?
Like it's still just a driving cat.
Yeah.
It's still poorly driving through time.
Yeah.
I even made a fake orange cat prop leg to hit the shifter.

(26:55):
That's great.
So when did all of this kind of come together as far as you starting a career in film with
graphics because graphics is kind of a hard thing to just like waltz into right away.
Oh yeah.
So I was working in software at a oil positioning system company and I was not happy.

(27:20):
I was in like a dark room all the time.
That sounds terrible.
And so I eventually left to, well, I got fired.
That's another way of leaving.
It was almost an office space kind of situation.
Without the hijinks.
Well yeah, but I was like, how am I still here?

(27:42):
I was just showing up when I wanted, just doing whatever I wanted.
Oh, did you have a stapler that you coveted?
No.
I coveted nothing.
Eventually they were just like, I drew on everything and they were just like, okay,
now we're firing.
I'm like, okay.
I already had a job lined up at a bar.

(28:04):
I was working at that ended up being a bar that film people frequented a lot.
And I'm not going to say the name because I'm not proud of it.
Wait a minute.
Let's just say it's a 24 hour bar in Metairie.
Oh, okay.
All right.
Not what I was thinking of, but okay.

(28:24):
And so I met a lot of film workers through there.
Because we have weird hours.
So we tend to go to 24 hour places.
A grip in town that I was friends with from working over there.
And he was like, oh, we could use another set of gloves on set.
And so he got me a day like day play on, and I was so into it that I picked up a copy of

(28:52):
the grip book and like read through it.
I knew all my knots from Boy Scouts and got in there and just had like a great time.
And that was it.
Like I was like hook, line, sinker.
This is where I want to be.
Not particularly in the grip department, but like I knew I wanted to be involved in the

(29:15):
industry.
My, pretty much my whole life, but this was it.
Like finally I got a, you got a taste, dude.
I got a little foot in the door, like just a pinky toe.
I feel like there's a joke we missed about a grip writing a book.
Oh, listen, I've been thinking that this whole time.
I was like, I'm not going to say it.
I'm not going to say it.
The grip book was a good read.
No, yeah.
You know, that's the joke.

(29:36):
I guess the idea is that you would have to have a ghost writer because grips can't write.
So they would have to dictate the books.
There's one out there that's not a joke.
Kidding.
We love our grip brothers and sisters.
No, we do.
We do.
We do.
So yeah, from there I was helping everybody load the trucks at the end of the night and

(29:57):
I was helping costumes at one point and they were like, oh, we're going on to another film.
We could use, you know, a guy to help us move all these z racks and do all this stuff.
And I was only day playing with the grip.
So I was like, okay, sure.
I'll hop on.
So hopped on one costume.
Costumes loves having a dude around and started doing that as a costume PA.

(30:19):
And that's about when Jindal decided to cut the tax incentives here.
That'd be 2015, 2016.
And then I had a call from the same crew that I worked with and they were in Atlanta and
they were like, can you come up here and do a show?
So I was like, yeah, sure.
Why not?
Came up, went up to Atlanta, moved up there, ended up staying there for two years, working

(30:43):
all year, different shows, did costumes with them.
And then I had another friend that I met on that show that was an art department and she
had brought me to a different show in Atlanta.
And that's when I started as an art PA.
That's when I knew like, oh, I found like my home base.

(31:05):
Right.
Oh, and I did do set PA a little bit here or there.
It was a little bit before I did the grip, but that was always like a day play kind of
thing.
Like I'm just locking up streets or whatever.
As an art PA, because it is inevitable if like, if you're an art PA and you're trying

(31:28):
to get into the art department, into something more significant, a union position, you and
say the art department knows the skills that you already have.
It's only a matter of time before you, there's going to be some level of abuse.
It's just kind of a question of like, what is the level?
And it's sort of like a welcome abuse because you need to kind of go through that.

(31:52):
Essentially you're asking me how many times did I have to assist the graphic?
Right.
Without getting paid to do that.
And you can't complain.
You can't complain.
Are you just fucking a child?
For about four years.
Yeah.
Oh, wow.
Yeah.
Yeah.
So, but that was, that's on me because I, I stayed as an art PA, like going through

(32:14):
different shows and everything and learnings, but there was a point where I realized the,
unlike like a, like a production PA or the different PA positions, the art PA has a,
like an infinite connection throughout a lot of the different departments.
And essentially the largest, most important job the art PA does is provide lunch for the

(32:40):
art department.
Yes.
The lunch is always paramount.
Yeah.
And I had a blessing to work on a show where they had a, like the family, not just the
family side, but it was like the production provided at all.
So I had ample time to learn because the art PA's position you have, you can learn so much

(33:01):
from that without having the stress of the graphic designer, the art coordinator, like
those jobs just have so many things that they actually need to be doing.
There's no time.
And that's when I realized that I turned down any kind of moving up for a little bit.
Like I stayed where I, where I was comfortable to know I could do my job, do well, but I

(33:25):
could also learn like the set designers, like the graphic designer, the art coordinator,
art director.
Like I just wanted to absorb as much as I could.
Which is, that's not a bad thing that the, you know, the bulk majority of people in our
industry, I think are, are trying to rise to the top quickly, you know, and a lot of

(33:47):
times you get, you can, you can get people that can wing it.
Well, you get hacks.
You have people that do have solid backgrounds that are able to move up or people that were
in different industries.
Maybe they got in a little later, like Zoe, where you have a smart head on your shoulders
and you have general work experience because you're not 21 years old.

(34:09):
Oh, I'm also a hack.
Don't know.
I've seen, you got some chops.
But but yeah, I like, there is something to be said if you can, if you can have the time
to do it.
Cause like, I think I was a PA for a total of seven years.
And part of that is I couldn't decide on a department at first.

(34:31):
I kept traveling in and out of the country.
And so each time I'm coming back, I'm kind of like hitting a reset button of sorts.
Even with a lack of training too, it's helpful to absorb as much information without seeming
like you're getting, you know what I mean?
Being able to absorb by observing, you know what I mean?
That it helped.
Yeah.
You know, in hindsight, it helped.

(34:51):
I mean that, you know, union money would have been nice at an earlier, and the insurance
would have been nice.
Yeah.
That decade I didn't go to a doctor.
For sure.
I hope everything's all right.
Yeah, I mean, yeah, PA in different departments and staying with the RPA, I was able to absorb

(35:12):
so much.
And then again, like, eventually I got asked to come onto a show as the digital asset manager.
I know what that is.
That's a really cool title.
Not a cool title.
Where you just organize everybody's files.
Yes.

(35:33):
And, but apparently it is a union position.
So I got insurance.
Oh, okay.
I could have applied for a union job, but it was only, it was not recognized locally.
Okay.
It was only recognized in Los Angeles.
Interesting.
Cause I was going to say, I mean, I know the position.
I don't know it as a union position.
Yeah.
Well, so I got, I got insurance through Fox because it is a union position in Los Angeles.

(35:57):
Interesting.
But as a local, like they don't have it here.
That must've been a larger show to have somebody on site doing it.
Logan.
Oh, that would make sense.
So when you, when you are starting to make the switch to doing graphic design and you

(36:19):
need to, your resume is more or less a portfolio as well.
Right?
For sure.
And so are you, are in the beginning, you're having to kind of pull from maybe like stuff
you did in school or possibly stuff you didn't randomly as an art PA.
Very good question.
So I did a lot of the work that I did assisting the other graphic designers.

(36:41):
I pulled those because I mean, that was my work that I did.
And that gives you a little trade off too for doing it.
And then I was reading some books that I liked and decided to illustrate and create logos
for the different brands and things in the books, like in snow crash, there's like uncle
Alonzo's pizza company.

(37:03):
Okay.
So I did those.
There's a lot of cool and specific.
I thought you were going to say book designs for the book, but the products.
Yeah.
So I did a lot of products for that.
Sharp in their skills.
Yeah.
There's a lot of books that I have read or like really enjoyed that didn't have a movie.

(37:25):
Yeah.
So I wasn't like already tainted to go to that.
So I had like a fresh palette to like create something.
So I did a lot of that and put that in my portfolio.
Because I guess the thing that it's kind of hard to judge a graphic designer on until
you work with them is it's not necessarily the final products themselves, because like

(37:51):
if you're good at that, you're good at that.
But then they want to know like time management and like how quickly can you crank the stuff
out?
For sure.
And that's something that I wanted to get into because I think a lot of people that
aren't around the art department don't realize that graphic designers are often under high

(38:12):
levels of stress because of constant time constraints.
And I put a thing in my notes here like as if you're trying to get a job and they bring
you in for like an interview, but instead they're like, you know, give me six variations
of a slushy designed.
It's called avalanche.
You have 30 minutes.
Tick tock, Mr. Henry.
You know, 30 minutes is not long.

(38:32):
It's not going to look good, but you'll get it.
Yeah, exactly.
But but with that, can you take us through like, I guess, what would be sort of the start
to finish of a particular design request?

(38:53):
Like if we will keep it as a prop, since that's what I was saying in a slushy design.
But yeah, so we'll get our script and we'll do like the initial breakdown, like a graphic
breakdown would be anything that's actually mentioned in the script, like a like a branding,
a company, a logo, anything that you can just off the bat know they're going to need that.

(39:17):
And then, of course, the prop breakdown is essential for me.
I'll do the same highlight like a paper page in a book, a bill, right?
The unscripted stuff that right.
Yeah, like the the policeman is pulled over someone and they have their metal clipboard
out where they're writing a ticket or something.

(39:37):
But maybe we don't have the tickets.
And so we need graphics to make us tickets.
Yeah.
And it's a lot of that.
So I do my breakdown and then we'll have that.
And so the all this has to go through the art director because they are the the essential
like hinge pin in the entire art department.

(39:58):
Every like they manage all the time that needs to be because there's things that I don't
know, like that may be going on with production that they'll know as far as like scheduling.
Like there's hundreds of times.
That's because you're in a cave.
Yes.
Because it takes so much time to do these things.
I don't have time to know.

(40:19):
Like OK, if there's a schedule change, they'll know ahead of time.
I have to wait for production to print it out and bring it to me before I know that
the schedule has changed so I can be working on something that's not going to be.
It was for yes, like tomorrow or yesterday because everything to yesterday.
But now it's a week away.
And then there's a lot of projects where if it's a larger sign where even though it doesn't

(40:43):
play for another week, I have to schedule the actual fabrication.
Exactly.
Of the actual product.
So that, yeah, so I do my breakdown.
We'll have our production meeting, which generally goes over what we know is the schedule at
the time.
We'll go through a schedule that'll help me shift everything around.

(41:06):
I'll meet with the art director.
We'll figure out what is more pressing.
Yeah, like that would need to do.
And then we'll pump out all the logos that are like in the script, anything that we need
to actually have names cleared for, things like that, try to pump out as much rough drafts
as I can.
That way we can get in front of the production designer as fast as possible.

(41:28):
They can get in front of the director.
They can choose a path that they want to actually go with it and then rope it back in and we'll
make a final product, try and get that approved.
And then that can go into fabrication of whatever application that it needs that the location
or set calls for.
And we can go in with that to use as an example.

(41:50):
If you have, let's say a company, it's maybe a private company, they have their own in-house
security and now that logo that you've been tasked with creating, getting those approvals
for is going to be on letterhead, on props.
It's going to be on badges on your in-house security.
It's going to be probably wall decor in some form or fashion for the companies, whatever.

(42:18):
Floor murals.
Yeah, floor murals.
So suddenly you have multiple departments that are all clamoring for the same item basically
because they all need it for their own.
Oh, for sure.
Yeah, set deck will need it infinitely.
Props needs it infinitely.
Yeah, I just described, see that was costumes, props and set deck and arguably construction
if it's a big enough sign to hire.

(42:39):
So that's upwards of four departments for one logo that everyone's waiting on, of course,
because like you said, they needed it yesterday.
And that's one of those things that I think is interesting because of the balance act.
I think y'all are also a position that, and then tell me if you agree, but I always feel

(43:05):
like graphics is one of those jobs where the work is too much for one person, but not enough
for two people.
And so just the nature of business, people aren't going to give help because they can't
justify that full timeliness of it.
Oh, you'll never.
It's like rare, very rare, produceable, actually approve of like a second time.

(43:25):
That's where a lot of times where like, I know y'all have like backup designers and
stuff that y'all can-
Yeah, we'll outsource.
Yeah, and then that's easy to do because you can actually just invoice.
Yeah, exactly.
That individual, which again helps out infinitely for any graphic designer because like if I'm

(43:45):
not on a show, even if I am on a show, a little invoice pay never hurts.
And actually with that example, we then have to turn around and justify why we need this
outsource person.
And it's because the graphic in-house person is slammed and we need to have this by X date

(44:12):
or whatever.
And it can vary show to show obviously for like the level of need, but the demand is
always there, especially TV is seems painfully fast.
It's fast.

(44:33):
And I find a lot of TV shows are heavily, heavily graphic based because they're trying
to show their fictional world.
They're trying to show anything that they can to bring you into that story very fast.
And the best way to do that is through signage or logo or anything, because once you have
that, you can establish a set or a company or anything like that.

(44:59):
Even with an establishing shot, the amount of signage we pump out and money we spend
on literally just an establishing shot is incredible.
But that is all takes time.
You have to have it made, ready, produced, fabricated, like actually put out there and
camera ready.
And yeah, it's a lot of work.

(45:22):
And I get my 10 hours in a day.
Oh yeah.
Yeah.
And that's another one of those kind of what you were saying earlier where a schedule can
shift.
You can have something that was needed tomorrow, but now because let's say weather is affecting

(45:45):
the schedule.
So then we might turn to what we call cover sets, which I think we've talked about on
the show before.
Oh yeah, we did on Jaws.
Cover calls, if we look at weather, cover calls can be extremely stressful because I
now have two sets that I have to have prepared in the same amount of time as one.

(46:10):
So yeah, those can get very stressful.
Hopefully with a little love from the first AD and scheduling, they would make it like
something that doesn't need to be graphically heavy.
Right.
But it needs some finagling sometimes.
Yeah.
And generally every time, what's the number of sample designs that you try to have for

(46:35):
a...
Depends on the production designer.
Okay.
Like you just kind of have to get to know them, feel them out.
I like to do four, usually rough.
I feel like a good minimal number.
Yeah.
And that's with just not doing color.
Right.

(46:55):
Because I try to do black and white because at that point, as we're filling it out, I'm
also waiting on the info from like costumes if it needs to be embroidered.
Oh, right.
So I don't want to do something too fantastical and heavy if it needs to get embroidered,
it has to be cut to a certain amount of like shapes, threads and everything.

(47:17):
So yeah, I usually generally do black and white four to do like a rough estimate, like
for a look of what direction we're going.
Right.
Until I get the rest of the information from everybody and other departments of where it
needs to be and what it needs to look like.
Like then I can start breaking it into, and I'll work with the production designer on
that with the look of how that's going to be.

(47:40):
Okay.
Now moving us along before we kind of get to our little rappy thing that we like to
do at the end.
So as we've all been having erratic work and everything, usually I'm asking, you know,

(48:01):
what are the aspects you like the most about your job, like the challenges?
I kind of want to also say, what do you miss the most about your job since right now none
of us are working that much.
Food.
Yeah, food.
No, I'm not going to lie.
When I'm in the office, I tend to...
Gain 20 pounds?

(48:22):
Well, yeah, I do gain weight, but I also, I'm always pushing for the restaurant I've
never been to because I want the free meal to try to see if I like the restaurant.
So I'm always going like, why don't we go to that new place over on the corner?
Yeah.
But it's very selfish.
But what are the things that give you the most satisfaction at the end of the day on

(48:45):
a particular job?
Oh man.
Since I've been doing graphic design, I mean, I love every aspect.
I mean, there's so much, like it is the job that when you wake up in the morning, like
I wake up before my alarm and I don't even need to snooze.

(49:07):
It's the type of job that I want to be there.
Like I get up early, I get ready, I have no problem waking up.
I will get to the office early, start the coffee if I have to.
Like I want, I can't wait to be prepared for the day since I've been doing it.
It is an absolute joy.

(49:27):
I love being able to be creative.
I love like having everybody in my department, like an art director, like who can just help
you find what you do best and then help you guide you to the way of creating what we need
for the camera.
All the people, I get to bring my dog to work.

(49:50):
That's a pretty good bonus.
That's a really huge bonus.
That is beautiful.
You have a really beautiful dog.
She loves this.
Shout out to Stormy.
I'm always jealous of the people who can bring their dog to work.
I was told that if I didn't bring her, I couldn't come back to a show.
Smart.
That happens.
Yeah.
There's so many gratifying things about the day, finding a design, just discussing your

(50:21):
job with the other people who are like-minded in that.
It's just a world where everybody has a goal.
We get to nerd out about the things that we love about our goal and to just actually produce
it and make it.
Then to walk onto a set that you just spent a week designing and making and just seeing

(50:47):
it as a reality, it has never felt like it hasn't.
The first time I did it, every time it feels the same.
It's just mind blowing.
That's a good drug because you don't have to up the ante with each time you're getting
the high.
I don't know, man.
It's keeping a steady high.
That's good.
Turning MSY Airport into LAX and then walking down the corridor was probably the pinnacle.

(51:17):
Oh, right.
Okay.
That was awesome.
That's how you feel going to work every time.
We just had what we did at MSY for three.
It was-
Three or four, three days?
It was, well, no, no.
I'm trying to think.
It was a Barcelona airport.
It was a Vancouver airport and it was JFK as well.

(51:44):
We had to break up multiple sections to be different airports.
I think there was a fourth one in there too somewhere.
I was hoping I was going to have one of those fun experiences when you go from one set to
another and it's like you go through a portal kind of situation.
Oh, I love that.
Oh, it's so much fun.

(52:05):
This was too spread out so you didn't quite have that feeling, but it's kind of like you're
running to like, okay, I need to get over here to baggage claim to drop off some stuff.
Oh, look, there's a tapas bar.
Oh, that's Barcelona.
Okay.
Then it's like you keep going on your way to the luggage.
We had that with the golf course clubhouse.
Oh, right.
Yeah.
Walk into a museum and then now you're in a hallway of an apartment complex.

(52:29):
Go through another door and you're in India.
I don't know if, I mean, I'm trying to think of the right expression.
Polishing a turd is not exactly the right one, but that building.
That building, I think it had-
It's an ultimate clubhouse for a default-
I feel like they built one part of it.
They built one part and got an architect to build another part and they got a different

(52:52):
architect to make another part.
So the building itself has five or six very individual styles of architecture.
It's very odd to begin with and then-
Is this out in-
I think we can say it-
River Ranch?
Yeah, yeah, yeah.
I've been there.
Yeah, yeah, yeah.
I love places like that.
The leverage people have used that facility for three seasons more or less and so it has

(53:20):
gotten a lot of different iterations of things to your point, Henry.
But yeah, that building has been flipped a lot.
Oh yeah.
It's amazing.
It is a pretty- I've never thought about it so much too because usually when I'm in there,
it's already halfway or completed to whatever new set or design it's supposed to be.

(53:44):
But you're right.
That building is a really weird- the layout and everything is odd.
Yeah, anyway.
Sorry, Henry just opened up a door.
Into another building.
Into another building.
That's weird architecture.
Oh, brick.
That's still the same building.

(54:07):
So starting to wind us down, there's a couple of things we like to always end on.
And I think for the first part of it, we like to allow for any venting or anything like
that.

(54:28):
We usually refer to it as a soapbox.
It's been a minute since we pulled out the soapbox, so I might have dusted off.
But if there's anything like maybe something you wish that could be improved in your world,
it could be maybe the quality of restaurants is bad if you work in this town.

(54:48):
I don't know.
But it's just a chance for you to kind of say whatever you want.
And then after that, we also ask any advice that you'd like to impart on people.
That can be very broad too, whether it's just general industry advice or art department
specific advice.
But it's your floor to say.

(55:13):
So like food, I would like to state that the lunch allowance needs to match inflation.
That is probably the best thing anyone said on the show so far, because that's so true.
You have $15.
What the hell is it?
The $15.
You can't even go to McDonald's anymore.
I just did $16 at Taco Bell last night.

(55:34):
Even like the crappiest salad.
That used to get you everything.
That used to get you the whole menu.
So that's my only real gripe.
The Mexican pizza is an expensive combo.
Oh, it's back?
Yeah, it's back.
$22 minimum should be the new lunch.
But I mean, thinking about tip though, $22, fine, fine.
I say $22 minimum.

(55:54):
I mean, I would be fine.
I mean, even it got to $18, I'd be fine.
So I'm sorry.
Y'all are referring to the lunch allowance?
Yes.
Okay, gotcha.
Because I got off of a show last year that it was $20.
Was it a commercial job?
No, it was the thing that I did.
Oh, oh, oh.
The thing, totally.
I remember that thing.

(56:15):
The thing.
Anytime I do commercial or photo shoot or anything of those natures, then I noticed
that there tends to be a higher allowance for those.
The best was we did a magazine photo shoot for, is it Complex magazine, I think.

(56:38):
But the guy that was with me, shout out to Seth, he and I had, no one told us what our
allowance was.
So we were just being cheap.
And so every day we're like a McDonald's kind of thing or whatever.
And the production designer was working remotely from New York.

(56:59):
And so it was our last day and we're basically doing rap and returns and things like that.
And she said, I'm seeing your stuff and what have you all been eating?
And so we're like, oh, well, we didn't know what the allowance was.
So we've just been doing fast food and stuff.
She goes, you guys have a $25 allowance.
And she's like, so why don't you just go somewhere nice today?

(57:20):
And so we're like, okay.
So literally in my entire career, it's the only meal I've ever had that wasn't a special
rap meal that was provided or something where we got oyster appetizers.
We were like, I mean, Seth are going to town.
So it was such a good meal.
It was like an $800 meal.
This house should be done.

(57:40):
Wherever the office is, the closest Viet restaurant and the price of the pho with tip, that should
be the bare minimum.
I think that's a good, oh, that's smart to do it by location.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Because that's, that's a steady one.

(58:00):
And not just fuck that 16 ish dollars is usually kind of the average.
So, and that's without tip.
I know recently it's gone.
It's like 19, almost 24.
Yeah.
Are you getting that good?

(58:20):
What about advice that you, you would like to impart to anyone listening?
So definitely like we had stated before, I think people tend to try and rush everything
too fast, like rush into try and like, Oh, I have to climb this ladder as fast as I possibly
can.
If you're at a point that you're comfortable with and you, you see the, I guess the job

(58:46):
that you want to have, make sure that wherever you are, while you're comfortable to learn
as much about that position as absolutely possible, even if it makes, you have to take a lower
pay cut to come back as your position again, to learn from somebody else.
Cause I mean, if you're just on one show and you learn one person's way of doing things,

(59:11):
that could possibly not be the best way to do a certain thing.
Yeah.
You could be learning something that's absolutely wrong.
I had a good point earlier when you said how many, you know, like, I don't know, mockups
you give, you were like, it depends on the production designer, which anytime people
ask PAs ask me for advice, I'm like, it's, it's, it's, it's case by case.

(59:35):
Everybody's different and this job film industry is so much based on people's personalities
and working with people's personalities.
The more time you can spend, especially like essentially as a PA, you, you can learn the
personalities and what other people expect because the first time you learn something
from one person is absolutely not going to be the same for the next.

(59:59):
It could be absolutely completely different when you start and then you can start to pick
up like your essential tools for yourself.
Like you say, you could be on one show and see how something's done.
You can be like, this is awesome.
And then the next show you do, you could bring that to that show and they're like, this is
a really great idea.

(01:00:20):
And it, you, you have, you build up your own personal toolkit of ideas, the way you like
to move forward and have things done.
And you're never going to get that on one or two or three shows.
Like you're going to need to just sit back and learn and take that time while you have
it because once you're not in that position anymore, you have absolutely no time.

(01:00:43):
There's the stress level skyrockets to the next position infinitely.
And you know, it just enjoy that time like, and really learn with real life experience.
I think that's the best advice I could give somebody.
Yeah.
I think that's great advice.
I would even go a step further with PA world and the least attractive spots like accounting

(01:01:09):
or like the production office and everything.
How's I really feel?
I'm just saying they're not attractive.
Oh yeah.
I mean, but are they important?
They're vital.
And I, I am very grateful for my PA tour that I did.
I think it helped round me out better down the road and everything.

(01:01:31):
Seeing say accounting, for example, I mean, that's the financial nervous center of the
show.
So everything's filtering through there, you know, the production office, the information
is filtering through there.
So when you're at those like center kind of nervous system centers, you really get a good
perspective on, on the production as a whole, as opposed to say, if you're in costumes or

(01:01:55):
props, you're seeing things from an angle.
So it's a little bit more of a skewed perspective, but it's definitely, I mean, I, you know,
everybody needs money and all that, but yeah, ideally, like if you can, if you can have
a good foundation time as a PA, I think that's absolutely paramount.

(01:02:15):
And then why you're also asked questions.
Oh yes.
Always ask questions.
Ask as many as you'd like.
If you could do something, like if you're really interested in learning a position,
it never ever hurts to just ask because you know, that that's essentially how you're going
to learn more and more and more.

(01:02:36):
And, and I know a lot of people are afraid to ask somebody who's above them about something,
but as long as you have, you know, you're a kind person, you're a good worker, you have,
you've got your job under asking questions and learning from other people I've found
never hurts.
Have a good sense of humor too.

(01:02:57):
Yeah, that, that helps in our world.
On learning.
And there's, what is it that the, the, the, what is it?
The, the worst question is the one you don't ask or something like that.
I can't remember how that goes.
Probably.
Probably something like that.
Speaking of sense of humor, do you ever give like, just like joke mockups?

(01:03:19):
Oh, absolutely.
Things you know that are never making it.
You slip something in.
I've done that to them.
Especially like any QR code that they need.
Oh, okay.
Yeah.
Yeah.
Yeah.
It's good to know.
Well, Henry, thank you so much for coming in today.

(01:03:41):
We really appreciate you coming by and hopefully see you sooner than later on a, well, not
a set, but an office.
An office.
Yeah, that'd be great.
All right, man.
Thanks for coming by.
Yeah, no problem.
Thanks, Henry.
You get it.
All right.
Thanks, Henry, for coming on.

(01:04:04):
I am always impressed by graphic designers.
Noble profession.
Noble.
And especially just the speed at which they can pump out options.
But before we get out of here, any final thoughts on graphics?
Should we have a, what did we learn today moment?
You know, graphics is always just interesting to me that it's just one department.

(01:04:27):
And like you said, it's one isn't enough, but two is two.
I've personally experienced that work situation more times than I care to admit.
So anytime I see that, I always like immediately sympathize.
Yeah.
Yeah.
But it's nice to hear someone that's not like jaded and hates their job because I don't know.
I feel like there's a lot of film folk out there that I don't even think hate their jobs.

(01:04:50):
I think they just like to complain or whatever.
I don't know.
We're American.
That already makes us complainers.
And we work in an industry that likes to complain on top of being Americans.
So we're a very complainy.
Yes.
And like, yes, we do work long hours and like, yes, sometimes film does totally like blow

(01:05:10):
hard, but the paycheck is usually when you go, Oh, I'll go do another 18 hour day outside.
Yeah.
Yeah.
Kind of thing.
But I don't know.
It's just, it is nice to hear.
Cause I always try to step on a set too and be like, this is cool.
This is cool.
Look at that.
Like this whole thing was created and it's going to be torn down and let's, I don't know.

(01:05:32):
It's always interesting to me.
Which is kind of nice to hear someone else say that.
Cause it's like, yeah, even when I'm like not feeling it, I'm like, I try to remind
myself like, this is kind of cool.
This is kind of cool.
What we do.
We're lucky that we don't have a lot of repetition in our department.
And so I think we're the type of people that not doing repetitive things keeps our interest

(01:05:54):
high.
I think, you know, and I think I've said it before.
It's like, this is in no way a knock against like factory work.
But if I was on an assembly line doing the same thing over and over again, I may go postal.
So my personality type and abilities and everything serve very well in the environment that we
work in.
And Henry, I think it's another one of those things where, yeah, you're on a computer all

(01:06:17):
the time, but you're constantly creatively coming up with different things.
You know, you're not repeating anything.
I'm sure eventually we didn't really get into it, but I mean, eventually you could probably
dial it in with certain things where, especially if Henry's making independent graphics on
his own time, that's like, you know, oh yeah, I got a couple of soda options already here
for you.

(01:06:38):
Sure, sure.
Yeah.
But, but yeah.
Any any other final thoughts on graphics before we get out of here?
Yeah.
Justin, you have the floor.
McDowell's.
There we go.
There we go.
That was the name of the restaurant.

(01:06:59):
I don't think you can get away with that now.
I feel like, I feel like legal would be like, that is no guys.
No, I loved, I really want to see some of the iconic designs that we've seen in movies
over the years, but I want to see what ended up on the drawing room floor.

(01:07:20):
Yeah.
You know, I want to see what didn't make it in.
That's something that I will say shout out to Twig, another graphic designer and friend.
Twig, I'm trying to think if Henry does it or not.
I can't remember offhand, but Twig usually throws in an intentionally bad one.

(01:07:42):
You know, I guess I would compare it to if I'm showing watches maybe to an actor and
I really am just trying to fill out the case to make it look nice and full with options,
but I really want you to look at certain options.
Then I'm going to put less attractive or more off putting things in there to sort of trick

(01:08:03):
the eyes into going that way.
And so I think it's a similar situation where maybe here's six design options, but really
it's five design options.
I just kind of threw a tosser in there, but it's also for my own humor.
And so when you're looking at the design stage of that stuff, it's always a good laugh and

(01:08:24):
everything because you know it will never see the light of day.
And so you know it's like maybe it's supposed to be a design for a breakfast restaurant
and all the logos involve like a fried egg, you know, is maybe because that's the note

(01:08:44):
that they got.
So it's like make sure there's a fried egg in that logo, you know, but then maybe there's
one where they put a sombrero on a character and made the fried egg the sombrero, you know,
kind of thing.
And then I meant to say poncho and then the sombrero is an egg.
And then you're going like, well, that's too much.

(01:09:04):
That's not going to make it, you know, and that's a little racy.
But you're looking at going, it's still a funny logo, you know.
I know it will never see the light of day, but I'm glad I got to see this.
I would wear that on a t-shirt.
That's something that we should be doing is we should be making t-shirts of the designs

(01:09:26):
that don't get chosen.
Yeah, it was exactly what I was thinking.
All right.
Okay.
Yeah.
When you go like, and here we'll do another callback.
Like I don't remember the Cyberdyne logo looking that way.
You must have not seen the super original term.

(01:09:47):
This is the prequel before the company changed its, anyway.
All right.
Well, I think that's good on graphics for today.
So let's get out of here.
And what do we do at this time?
Oh yeah, Zoe, you have a thing.
Do you like what we're doing here?
Do you have thoughts, comments, questions?

(01:10:08):
Do you have an idea or suggestion for topics you want to hear about?
Well, you can find us on the Intrawebs.
You can email us at filmfolklorepodcast at gmail.com.
You can find us on the social medias, Instagram, and film folklore podcast.
We have a Facebook group called Film Folklore, Twitter X, whatever you want to call it at

(01:10:31):
the film folk.
And yeah, thanks for joining us today.
All right.
Thanks everybody.
Thank you.
Bye.