October 27, 2023 • 49 mins
This week, Stacey and Lindsay sat down with Ozzy Alvarez. He is the makeup effects department head for The Fall of the House of Usher. He's also a former pro-skateboarder and a collector of so many cool toys!
Tune in next time for more Poe, more interviews, and more deep dives!
Tune in next time for more Poe, more interviews, and more deep dives!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:01):
Strawut Media. Hey everybody, I'mLindsey Jones and I'm Stacy Nye and this
is our next session of psychoanalyzing theFall of the House of Usher, featuring
makeup artists from the show Ozzie Alvarez, who is going to show us today
(00:22):
how he will not only make theblood that goes on the victim of the
people in this show, he alsooperates the monkeies that kill you. It's
gonna be great. Yes, it'sa very fun episode, so stay tuned.
Our session starts now. Okay,So I am now going to do
(00:48):
the episode three recap Murder in theRoom Morgue, and I'm giving a spoiler
warning and a trigger alert today foranimal cruelty and death, so please be
aware as you continue to listen.Okay, there are three and a half
main plot points for this episode,Perry's crime scene, Camille, Ligodon,
(01:10):
and Napoleon, and these are notrecapped in order. So first, there's
updates on Perry's Grizzly crime scene.Seventy eight people died in that orgy.
We've confirmed Perry's death. We've confirmedone survivor, which turns out to be
Frederick's wife, Marilla who had allof her skin burned off. And we
(01:30):
confirmed that the tanks containing toxic wasteand that's why everyone died. So you
knew that, Lindsay ahead of time. I didn't. Oh. Well.
Then we have some background on thedrug ligadone. It's currently being sold on
the street as Monty, both Perry, and Napoleon are users. It was
quote stolen way back when by Roderick'sboss, Rufus Griswold. Madeline coaches Roderick
(01:57):
to make Rufus think he's loyal andthen eventually suggests that she stabs him in
the back. So Annabelle is horrifiedby Madeleine's ruthlessness and more about that in
future episodes. Then we see followinga drug fueled grieving party that Napoleon has
hosted, played by the way byRaoul Coley, who is a haunting regular.
(02:22):
He wakes up with the blood onhis hands, apparently he had gruesomely
killed his partner Julius's cat Pluto,the night before. He cleans it up
and then lies to Julius about thecat's whereabouts, insinuating that may be they
had let her out by mistake.Then we have Camille played by Mike Flanagan's
(02:44):
real life partner and regular on Allthe Haunting series, Kate Siegel, looking
smashing by the way. In WhiteHair, we learn about her job as
Fortunado spin artist, and we alsolearned that she's been investigating her half sister,
Victory chimpanzee heart mesh research and shefinds out from her two assistants that
(03:06):
there were some irregularities in her reportingVictorine's reporting of the chimp's death. So
Camille is really hot and bothered aboutthat. Later in the episode, Camille's
assistance quit because they don't like thefull service duties required in their job description,
so Camille takes it upon herself tovisit Victorine's lab on her own in
(03:29):
the middle of the night to getthe dirt she needs. Verna is there
at the lab. She's actually everywherein this episode. She's the masked woman
in pictures from Perry's party. She'sVictorine's first human subject. She's Tamerlane and
Bill's new sex actress, and she'shere at the lab as the security guard
(03:52):
when Camille shows up. This isa hard scene to watch with the chimps
in cages, they're obviously not beingcared for well. Camille is taking pictures
of all of them, and thenwe see one of the cage doors open
and Verna suddenly appears in the lab, having been transformed from the chimp.
(04:14):
That's not clear at first, butit becomes clear as it goes on.
Verna is spewing her hatred of theUsher family, and then she starts to
transform back into the chimp, andshe's howling with rage, getting all of
the chimps all hot and bothered,and we just assume that she attacks because
the next morning, Camille is founddead, having been brutally slaughtered by the
(04:40):
scary looking chimp. Not the wayyou want to go out. None of
these people go out the way anyonewants to go out, right, Okay,
Actually, that is a point thatI'd like to bring up, which
I think is really interesting in thisepisode because in episode two they go to
great lengths to say, and nowI'm going to tell you a story about
(05:01):
how my son Perry died in ahorrible accident, right, and they had
set that all up, But theydon't do that in this episode at all,
and so your spend the whole episodebeing like, wait a minute,
is this the child that's going toget it in this episode, because all
of them seem like they're on thebrink of something bad happening to them.
Yes, And so by the timeyou get to Camille in the laboratory,
(05:21):
you're like, uh, oh,I think this may not end twelve right.
Well, wherever Verna shows up,you know, is where you're going
to see someone die, right,you know, like definitely not good.
Not good. The other thing Iwant to say about this episode, I
(05:42):
want to say this to Mike Flanagandirectly. Mike, if you're listening,
and I'm sure you're not, butperhaps someone who knows you is and will
get this message to you. Iwant to say something as directly as I
can as a person who makes theirliving working in live theater, right,
which is what I actually do whenI'm not hosting the show, And I
just want to say number one,to the person who's listening to this,
(06:05):
if you wanted to pass along thatyou're really enjoying this podcast and that you
would like you think it's a goodidea for Mike Flanagan to write us back.
Please encourage him to do that.But number two is Mike Flanagan in
short order puts two monologues into thisepisode, one about the lemon, which
is brilliant said by Roder Kusser,and then minutes later we have this incredible
(06:30):
monologue from Camille about how she's gonnabasically spin the entire thing. And I
just want to say this to you, Mike Flanagan, if you're listening to
me, I really believe you havegot an amazing play for live theater somewhere
in you. And I know thatmaking all these hard films are really fun
and probably really lucrative, but ifyou ever wanted to not make any money
(06:53):
and just indulge that side of yourwriting, I'm begging you please come to
Live theater and also hire me todo your music and sound design. But
seriously, though, please write aplay Mike Plan again. We really really
would love it. So that's whatI wanted to say. What am I
going to do when Mike Flanagan writesyour play? I could be maybe the
(07:14):
psychological consultant, yes, the psychologicalconsultant, and or leading the audience talkback.
You'll be the person after the playcomes out and says, all right,
how does everyone feel now that they'veexperienced this play. Yes, yeah,
I could do both and you know, bring my my Pinocchio pupps.
Sorry that murder everyone. You're goingto hear more about that later. But
(07:36):
suddenly Ai Alvarez just takes his vengeanceon all of us. Speaking of which,
yes, we have a great showfor you today. Ozzie Alvarez is
on Lindsey. Tell us about Ozzie. Okay, let me introduce today's guest.
(07:59):
Ozzie Alvarez is a special makeups effectsartist and a puppeteer whose work has
been seen in such films as SawX, Aquaman, Logan, An Army
of the Dead. He has wonan Emmy Award for his work on The
Quest, as well as both aChainsaw Award and a Screamfest Festival Trophy for
(08:20):
his work on Splinter. We aresuper excited to have him today. Please
welcome Ozzi Albarez, makeup artist forthe Fall of the House of Usher.
Well, thank you for having me. I appreciate it. We are so
excited to have you with us.This is great. Okay. Can I
just say I feel like I haveto say this to our audience right away.
We're interviewing Ozzy, and obviously thisis an audio interview. But I
(08:43):
wish you could see the video ofthis right now. Ozzy's room where he
is is covered in skateboard decks andas I was corrected earlier, amazing action
figures that span the entire length thisroom. Yes, it's all from the
seventies to the early nineties. Wow, it's really amazing. Again, this
(09:07):
is what I spend my money on, right, Like, imagine the scene
from forty year Old Virgin times athousand. There's like thousands of action figures
and they're all much cooler. ButI'm actually married, so not forty year
old version. Okay, right,right right, thank you for setting the
(09:28):
record straight on that. But sheloves action figures also, so it all
works out. Oh she sounds perfect, a match made in heaven exactly.
How well. We're so excited totalk to you about this show, Ozzie,
and I'm really really interested in allof the incredible makeup effects and theoretically
(09:50):
we're talking about episode three today,Murder in the Room Morgue. But I
have questions about you know, episodetwo, because oh yeah, man,
you're gonna have to refresh me onsome of it because I've already watched the
first two episodes. Okay, I'vebeen busy, so I tried to watch
the first two episodes just so Icould refresh my memory and how the order
(10:13):
that they put everything. You're notmuch behind me. I'm also taking this
one episode at a time, soyou and I are right on target with
each other. I appreciate you youbeing in the same place I am.
Well. So in episode three isthe episode with Camille and the chimps.
I don't know if that's enough ofa refresher for you. What three has
a lot of a lot a lotof is disfigured bodies, Like it's got
(10:39):
disfigured bodies from one end of theepisode to the other because of the acid
bath that everyone takes at the endof episode two, Right, so we
start the episode with the aftermath ofthat. Actually, this brings up a
question I really want to ask becauseI'm dying to know. Because we're interviewing
(11:03):
you right now, and then ournext two episodes, we'll be interviewing Lauren
Kelsey, who's the production designer,and then we'll also be interviewing Krista Elaine
and Brett Kulp, who are thevisual effects designers. With something like that
where you've got a room full ofpeople who have technically been disfigured. How
much of that is makeup versus howmuch of that is production design versus how
(11:28):
much of that is visual effects?I would actually say in that sequence that
you're talking about is ninety percent makeup? Really? Yeah, So how that
whole scene came to life was originallythey weren't supposed to be in lingerie and
stuff, so they were going tobe covered more so we didn't have to
(11:50):
do a gigantic makeup. I seeit developed into this thing where they're like,
no, no, no, it'sa lingerie party type of thing,
so we need to expose more skin. So from doing that myself Kelsey Burke
who was my key makeup, andthen Mike Fields was a Canadian makeup artist,
and then Harlow McFarlane and we fabricatedthat's a term in our industry of
(12:18):
making these big burned suits on spandexsuits wow. And we made eleven of
those that were suits. And thenwe also did the Perry makeup, which
was a full prosthetic makeup. Andthen Todd Masters Effects, which is another
company in Canada in Vancouver, theydid an additional ten people would just what
(12:43):
we would call a stage two makeup, so they weren't as crazy as the
ones that we did, but justto get the environment correct. And then
they also supplied a bunch of theskeletons and other things. But for the
most part, about say ninety percentjust practical. Wow. It was a
lot of work. That was thebiggest episode for us by far. That
(13:07):
was like we were there at Ithink three in the morning and worked you
know, eighteen hours that day.Wow. Because that's why I was thinking.
I was thinking, well, someof this must be digital effects because
the scene it does. Looking atit seemed like it would be an insane
amount of work. It was,and you know, oddly enough, one
of the funniest things about that entirescene was the blood on the floor,
(13:31):
which immediately I said, hey,guys, we got to move all that
blood because people are going to beslipping and falling. So we ended up
making little pads that had a pathwayyou know, through that scene so they
wouldn't slip and fall. So youknow, normally we make these bodies,
we cover them in blood, butno, you know, not a lot
(13:52):
of people think about the safety factor. If you will, yeah, I
can imagine. But that was definitelythe most intense scene. So did you
have any like oce moments at all? We always do in this industry.
Yes we did, because we'll dothat on another interview, but yes we
did. When they production added morepeople to the day, Oh really yeah,
(14:15):
so you know, you don't thinkabout it when you say, oh,
we need sixty people in this roomand it's going to be packed full.
Yeah, but when you put sixtypeople in there, sometimes it doesn't
look like that many people. Ohwow. So they were adding more and
more and that's why we ended updoing more makeups on the day. And
(14:35):
that was probably three days before weshot the scene. So that was the
oh shit moment where we're like,oh shit, we got to go make
a bunch of extra suits, morerun, more prosthetics, you know,
be prepared for that day. Sowere you like expecting twenty people and then
suddenly it was sixty people? Isthat what happened? Exactly? Exactly?
(14:58):
Yeah. They were like, there'salways going to be sixty, but you
only have to do makeup on tenpeople, okay, And then it became
no, no, no, no, we need another ten people that need
to have makeup on and that's whereMasters Effects from Vancouver stepped in because I
was like, I can't do thatmany people with three days before the thing
(15:22):
shoots. So they stepped in andthey did like what we would call like
a level two. So ours werethe most extreme. Theirs were a little
bit, you know, less extremethan ours. When you're doing your makeup
on a single person, how longdoes that take? How long does it
take to put through the process.So, for for example, speaking about
(15:46):
the same episode for the Perry makeup, two people myself and I believe that
was Harlow McFarlane that did that makeupwith me. It took us maybe an
hour and a half to two hours, because I mean, normally that'd be
a way bigger makeup. But fromhere down is a suit that we fabricated.
(16:08):
Originally it was all prosthetics. Whenwe did the makeup test, it
was probably closer to four hours.Oh my gosh. And then we're realizing,
like there's ways to cut corners andmake this more efficient, and then
all the face everything is all multiplepiece prosthetics. So yeah, two people,
I think we got that one downto like an hour to an hour
(16:30):
and a half. That's still tentwenty people. Yeah, Perry's makeup was
the most extensive, got it.All the other people that they added on
were the suits that we fabricated,and they had a more minimal makeup application.
They weren't full prosthetic pieces. Uhhuh. They were what we would
(16:51):
call transfer pieces, which are smallerpieces here and there, and then we
kind of tie it in with themakeup. Yeah, there's no way we
could do that many people in aday's work. Yeah. And is it
the actor, the genuine actor whoplays Perry always in that suit, Yes,
it is. He wore the makeupevery single day. We had no
(17:12):
double for him. And you know, that's actually a very good question,
because a lot of times, ifyou're unrecognizable, we'll just put a double
in there. But he wore itevery single day, and he was a
trooper because it wasn't a fun process. And then the other thing that a
lot of people don't ever think aboutis the removal process. So then you
(17:33):
have to think about another you know, forty five minutes to get out of
all the makeup, Oh my gosh, after shooting a sixteen hour day,
Oh my gosh. Yeah, andthen of course you've got to be back
early the next day to get backinto it. In our industry, we
have a ten hour turnaround, rightthanks for the new contract. Before we
(17:53):
had an eight hour turnaround. Soliterally, you finish, you go home,
you turn around, and he'd comeright back and got for the new
contract. Yeah, exactly. Perrywas doing more than just laying in the
pile of dead bodies. He hadmoments where he was face to face with
Roderick having this very intense you know, staring down at him, and you
(18:19):
know, so I imagined that wasnot comfortable for him, to be honest,
he was not real comfortable in themakeup. Yeah, period, and
of course on this movie he hadthe most extensive makeup than any of the
other characters. But he was atrooper. I think the only the only
(18:40):
thing that we had to change washe couldn't continue to wear the contact lenses.
So when you watch the show,the eyes are digital where everyone else
are actual contact lenses. He wasonly his eyes kept getting more and more
irritated every day, and so wewere finally, like you know, went
to the producers and said, hey, guys, he's not going to be
(19:03):
able to do this. Let's youknow, it has to be digital.
Wow for the dead eye effect,Yes, exactly, when it's kind of
just that blank look. I wantedto take a step back Asie and just
sort of ask you. Right beforewe started our interview, you mentioned to
us in passing that you were apro skateboarder, and I'm just fascinated to
know how you went from being apro skateboarder to being a professional makeup artist.
(19:27):
I mean, I'll give you theshort version, but you know,
I turned professional skateboarding in nineteen ninetyone and skated professionally toward the world,
did all that stuff, and thenmy wife at the time had a job.
I was living in San Diego.My wife at the time had a
(19:48):
job interview in LA and I'm like, what am I going to do?
I'd already kind of been tapering offmy skateboard career, and I love makeup.
As a kid, I was amonster kid. I love faningor magazine
and all that stuff, and soI went to a makeup school and I
started over from at you know,thirty years old almost wow. And now
(20:08):
I'm twenty years into this. Andwere you like a super horror fan as
a as a kid? Yeah,I mean yeah, I was always a
weird kid. So yeah, ofcourse when I was in high school,
I had a twelve inch tall redmohawk, So wow, growing up in
Tennessee, by the way, soI bet you stood out that that was
(20:30):
unique back then. So yeah,that's kind of the evolution. And then
yeah, like I have twenty yearsin this business now and worked on,
you know, over one hundred projects. That's really incredible. Okay, I
have another question, which is becauseso much of this show is focused on
(20:52):
horrible things that happened to these peoplethat are killed in really horrible ways,
and then of course we see theirbodies sort of come back in the afterlife,
where it's still not entirely clear,but we see them as spirits beyond
their human life, where obviously yourmakeup is on them as well, correct,
(21:14):
and they've all died in these incrediblybrutal ways. Do you spend a
lot of time looking at pictures andvideo of wounds? Like what percentage of
your life is about looking at thingsthat are horrible accidents to happen to people
and trying to figure out can Ireproduce that somehow? Well, unfortunately,
(21:34):
yes, I do, like andit's as I've gotten older, it's harder
to look at. Yeah. WhenI was younger, you're like, Okay,
look at that, that's you know, gross whatever. Now I'm just
like, uh, I need toresearch an actress's face getting ripped off by
(21:55):
a chimpanzee. Well, guess what, it happens more often than you think.
Yeah, and myself and Kelsey Burke, who is my key makeup artist,
we have an entire library of photosthat are all real, and half
the time we can't do those onscreen because you would think they're fake.
(22:17):
Really, it looks it's so overthe top looking you would think it was
fake. So most of the timethe stuff that we do is a tame
down version of what it really lookslike. Wow. Yeah, So you
get the brief right from the showwhere they're like, Okay, this person
dies by being mauled to death bya chimpanzee, which is what happens at
(22:38):
the end of episode three to Camille. Correct, then you and your associates
have to kind of just go outand figure out what that looks like.
Yeah, and you have again kindof what I was alluding to. You
have to come up with like ahappy medium. I see, So you
want it to be discussing and grossas realistic as possible, But as I
(23:03):
said, a lot of times,the realistic stuff is, you wouldn't think
it's real. So we we kindof marry the two together and come up
with something that's you know, acceptableby the audience and not being too over
the top. I guess that's thebest way to say it. Ozzie.
What was your favorite piece of makeupto work on, maybe from the first
(23:25):
three episodes, since we haven't talkedabout the others yet on the show,
was there any favorite? Actually,yes, my favorite makeup pretty much that
it did on the entire show wasthe character I believe it's Morilla, Yeah,
and so it's also during the wholePerry sequence, but that makeup carries
on through the episodes because she's bandage, so you know, there's multiple stages
(23:52):
of that, and personally I findthat to be one of the better makeups
on the show. When you getthat review of her and you're like,
oh shit, yeh, she wasthere too and she's still alive. Yeah,
So that was a great makeup thatI was proud of. Were there
different stages of that makeup? Imean, like I know, in the
(24:14):
end of three, we sort ofonly really see the back of her head
a little bit. We don't seethe full thing. And then later I
bet we see more. You getthe full reveal. But the stages were
more making it look more irritated,you know, like it was possibly getting
infected or healing, you know,you know, so we had to kind
of add a few different things intothere. But that makeup I think is
(24:38):
very effective. So when you seeit for the first time and then you
start to get some reveal throughout theseries, I think that's the most effective
makeup personally. Wow. And thatwas all a silicone makeup, multiple piece
probably twelve different pieces of silicone thatcreate that entire makeup, and then we
(24:59):
hand lai hair and stuff into it. So you see the little wispy pieces
of hair. Yeah, so allthat, all that is hand laid into
into the prosthetic. Wow. Ohboy, thanks. You just haven't ever
I have never thought about like that. Yeah, no, I know.
We always get the you know,the phone call from producers, hey do
you have an extra like arm layingaround or a leg and you're you know,
(25:21):
it's like, no, I don'tjust have a box of them.
And then but you know, youwant a leg, but you need to
have the leg hair, you haveto have. All that stuff is hand
punched into the prosthetics and it's veryvery time consuming when you're building a prosthetic
something like that. Let's say forMarilla right where you have to basically kind
of like cover her entire bed.You make the prosthetic, and then you
(25:45):
have to fit the prosthetic and thenyou have to sort of work it on
to the person. Is that right? Uh? No, Okay, tell
me what it is. I haveno idea. It's it's exactly what you
said, but in reverse. Oh. So the initial thing is you do
a life cast of your actor.Okay, so a life cast is we
(26:07):
use now, we use a siliconbased material and we cover your head in
that obviously your nostrils are open andall that you can breathe. And then
once we make that casting, wemake a positive of that, so it's
an exact replica of your head.Or sometimes now we'll just three D scan
it. It depends on availability andstuff. Wow. But then it's the
(26:30):
sculpture is on top of your lifecast, got it? So it's exactly
to your measurements. And how longdoes it take to sculpt on top of
the life cast, because I betthat's the hard part it is. It's
probably depending on how intricate it is. Could be two weeks, be a
week, two weeks. Then fromthere you have to mold it. You
(26:52):
have to separate all the pieces.Now you're talking about another week to two
weeks. So just to do thatand makeup is probably a month of work
with eight people doing it in differentdepartments, you know, whatever their specialty
is, if it's mold making orsculpting or but yeah, it's way more
(27:14):
time consuming than most people think.Yeah again, back to what I said,
I don't just have a box ofheads and arms and stuff laying a
round. Everything's custom made. Sowhen you get a call to a project,
how far in advance are you gettingthat call? Well, depending on
the project. I normally I workwith a company called Fractured Effects, and
the owners justin Rawley. Him andI have been friends for over twenty years,
(27:38):
so he actually owns the facility thatmakes the prosthetics and then I'm normally
the guy that takes them to theset and applies them to the actor.
So it could be two months inadvance, it could be six months in
advance. It really depends on howbig the project is. Something like the
(27:59):
Marilla makeup, for instance, threemonths. Because you have it's back and
forth with designs, directors, producershave to approve the design. Once that's
approved, then the sculpture happens,so there's two weeks. Then the molding
happen. There's another two weeks.Then you have to actually cast the silicon
pieces. There's another week, soit starts to add up. And that's
(28:22):
why I made the joke of like, people just think it's just laying around,
but it's not. Yeah, youdon't have a graveyard full of parts
somewhere. I mean I do,but they're all x ys. I'm kidding.
Don't let my wife out, Okay, no, right, right right.
I'm wondering about some of the lessgory details, like how is it
(28:48):
decided that, you know, Camillewill have white hair. How is it
decided that Napoleon has all these tattoos? Like is that are those in the
notes? Are those things you decideon your own? How does that all
come together? Everything that you mentionedwas all done by Mike Flanagan and Trevor
(29:11):
Macy. They came up with theideas with the tattoos and all of that,
and depending on the show. Normallywe would do all the tattoos,
but the straight makeup department did thetattoos for him. OK. And the
hair color was also I think thatwas a choice from her that she wanted
to have that color hair. Sothey've been very good about taking other people's
(29:34):
suggestions on those scenarios. But yeah, all of that was kind of all
done above the line and then theyjust give it to us and they say
this is what we want and thenyou do a test and if they like
it, then we move forward withit or we'll do some changes. Right.
So what's it like working with thestraight makeup department? I mean,
(29:57):
like, how do you guys workthat out? I've done a couple of
shit. Well, this is mysecond show with Mike Flanagan. I also
did Midnight mass Wow up there,so have a relationship with the other makeup
and hair department. So it's kindof nice going into it where we sit
(30:17):
down, we'll open up a script. I have all my notes, they
have theirs, and that goes likeare you going to do this one?
Do you want me to do thisone? And we kind of go back
and forth. You know, it'slike can you create this look or do
you want me to take that offyour shoulders? And I can do it.
So it's really a balance between thedepartments. And it's been amazing working
(30:38):
with Christa Young she's the department headup there, and you know, just
coming up with a nice flow sothat on the day we're not staring at
each other going wait, who's doingthis, who's doing that? Yeah,
So you know, we try towork it out in advance. And again
there's some things that are a littlebit more in depth that will do.
(30:59):
Like, for instance, the momin the episode one, which is all
muddy and everything. The straight makeupdepartment did that makeup, I see.
But then when I watched it lastnight, I noticed they did a digital
enhancement on top of it, likethe big scar through the eye and things
like that that wasn't in the originalsegment that we filmed. So they went
(31:21):
back and did some stuff. Butsome of the more minor things like that,
like just mud dirt, some blood, we usually don't do that,
you know, unless regular makeup needsextra help. I see, who did
the cats make up? Oh?I did? No? I actually I
puppeteered the cat. What's okay,let's talk about that please. Well,
(31:45):
okay, so unless there's another scene. What I saw last night when I
watched the episode when the cat jumpsout of the like the bookcase area,
Yeah, originally that's me with acat puppet on my hand reaching through,
and I think it got edited out. But originally we went through and there
(32:08):
was an extra a paw that couldscratch his face. Remember he had like
the scratches on his face. Sothat ended up being a reshoot, I
think, and I wasn't there atthat point, but yeah, we had
a full puppet cat that came outthat I puppeteered myself, and Kelsey Burke
(32:28):
puppeteered. She did the pause,I did the head. Now, there's
a lot of elements in there.Even the chimpanzee was a gigantic puppet that
we're hiding under the table, makingit move and the heartbeat and all of
that stuff. So wait, youdid the chimpanzee too, Yeah wow yeah,
yeah, So Fractured Effects built itand they did a beautiful job.
But then myself, Kelsey Burke andHarlow McFarlane, we're literally under the table.
(32:55):
I'm making it move, one personis made in the lungs move,
one person is doing the heart.There's a whole thing. Yeah, you
never you never realize when you seea scene that there's like three other people
under a table they're making it work. Yeah, okay, I need you
to help me out understanding this becauselike heka, my mind is blown that
(33:15):
you did make up for all ofthese people, right, and then like
yeah, I don't know. Somehowin your free time, you're like,
you know what, guys, I'mgonna also puppeteer all of these animals.
How did that happen? It worksout like this. We're in Vancouver filming.
They don't want to bring another personup from Los Angeles or hire another
(33:37):
puppeteer in Vancouver, so they're like, hey, your sag puppeteer, you
can do this right, And I'mlike, yeah, after I do all
this other stuff, no, wejust balanced the time. But you know,
that stuff is fun. I mean, it's it's fun stories to tell
like this, where again, anormal viewer would not understand that there's three
(34:00):
to four people under a table movinga damn chimp around, making it think
out and beating the heart and youknow, you just think it. Nowadays
people are spoiled and they just thinkit's all CG. Yeah, that's what
I thought. That is exactly whatI thought. All of the Chimp was
practical everything that I've seen so far, I've only seen three episodes, so
(34:21):
if we cut back to it,I can't guarantee that. And again,
when I was mentioning earlier about likethe hair and all that, all of
that chimp was all hair that waspunched individual. Oh my goodness, all
around that womb. I mean you'retalking over a week of just punching hair
into that thing. Wow. No, I haven't seen, Like I said,
(34:43):
I apologize, I haven't seen everyepisode yet, but that puppet is
amazing, and if you get ashot of it full body, it's it's
really good. Yeah. Yeah,I mean I'm very impressed with what I've
seen of it. And even justso the end of three where Camille takes
a picture and you sort of seethat full puppet in the lens for the
(35:06):
first time, it's really it's reallyscary. I mean, like it looks
good, right, it looks fantastic. Yeah, Then we did our job,
you did. I really thought itwas CG. I honestly did no.
Now all practical, literally, it'sthe way it's built. You know,
there's tubes and little bulbs that pumpthe air. And so if you
(35:28):
watch that scene again when they showthe heart mesh, there's actually two different
heartbeats going. One's going for themesh, one's going for the heart,
so there's kind of a double doublebeat happening. So these are all just
little things that a lot of peopledon't understand or you know, they don't
realize. But there's a lot morework to it than you think. Wow.
(35:51):
And there's a few chimps in thatin that last scene, you know,
there's a few in cages. Thoseare all digital. Those are okay,
all right you. Funny story isthat I didn't see that part in
the script. So when I watchedit last night, I'm like, oh,
there's other chips. Shit. Yeah, I didn't even know that.
The way it read it was kindof just like a camera kind of panning
(36:14):
through, and you didn't know therewas going to be all that those chimps
in there. So yes, youknow, unfortunately, fortunately those are all
digital, but it would have beennice to have another puppet in there too.
So so the main chimp. Thatverna is kind of trans you know,
becoming back and forth. That's theone that was the puppet, correct,
(36:36):
the one that's on the table andthen on the ground, on the
ground with Camille at the end whenit goes when it growls. Is that
a puppet too or is that CGI? That's all that's all digital, Okay,
all all, all the practical stuffwas on the what i'll call the
autopsy table. That was everything.There was all practical, even you know,
(36:58):
the cutting the incision and the stitchingit back up. All of that
stuff. We actually had to havea funny We had to have a medical
advisor come in and do the properstitching through the puppet, you know,
just so it looked right. Idon't know how much got cut out on
that episode again, but yeah,there was a whole scene of stitching up
the incision. The body of Camillethat's next to the digital chin at the
(37:22):
end. That's her, that's he, that's her body, and that's your
makeup on her body of her beingmore correct. That's it. Yeah.
Yeah, So we did what welike in our industry we call the aftermath.
So you just you see the goreand I think even when you see
her, there's a couple of shotsher as a ghost in the background.
(37:45):
So the idea was that, howeverthey died, that's how they would be
as a ghost. And so that'swhy you see like Perry in the background,
you see Camille in the background,you know that whole And I think
later on, like what Henry's nameis, Henry Thomas, Frederick or Frederick
they like to call him Frederick yes, or Frederick yeah. But you'll see
(38:07):
shots with him. I think therewas one up in the balcony where like
his stomach split open and it's kindof offset a little bit. So we
literally made a prosthetic, which wasa shirt that he could wear so we
could manipulate it, you know,and they could have it move wherever they
wanted. Wow, you mentioned thisis your second project with Mike plan again
(38:29):
you did Midnightmap. Well do youenjoy working with him? What I mean,
how do you how is that relationshipwith him? Well? I do?
I mean, you know, secondone in a row. So hey,
Mike, call me for the thirdone. We want him to call
us too, so we totally getit. Put in a good word for
us, Please ask I'll try we'llsee Okay, No, No, he's
(38:50):
great. He I like it becausehe's very opinionated in the sense that he
knows what he wants, and sometimesas an artist, you need to be
told that because if not, I'mgoing to spend three hours on this thing
making it the way I want it. Right. So I think that that's
part of the pleasure, where like, if somebody comes in and says this
(39:10):
is how I want to do itand make it look like this, I
can do that, right. Butif you're not, if you don't give
me the direction, then I'm justgoing to make it the way I think
it should look. So I thinkworking with Mike is good in that aspect
that he knows the vision, heknows what he wants, and I thought,
you know, the stuff we didfor Midnight Mass was amazing. Honestly,
(39:34):
it was one of the you know, I've got over twenty years in
the business, and that was oneof the hardest shows I've ever done continuity
wise, and the amount of makeupsthat we did every single day, so
it's almost coming back to Usher waslike, oh, this is a cakewalk.
Now the easy show, Yeah,this is the easy show. Yeah
it's not you know, seven oldage makeups every single day for five months.
(40:00):
It was intense. Yeah, itwas a crazy show. Definitely go
go revisit that one, because ifwe do another interview about that show,
I can tell you all the makeupsthat people probably don't even know their makeups
that consumed you know, five almostsix months of my life. Wow,
I bet. I mean, you'vetotally blown my mind already today, So
I can't imagine what that shows.Like, oh, from the skateboards and
(40:22):
the toys well too, but alsojust all the work that's like, you
know, I think it's really easynow as a viewer to just automatically be
like, ah, that's digital.They did that with a computer, you
know, and that there's still atremendous amount of craft that exists that is
not digital. At this point.I appreciate that because I think more people
(40:46):
need to realize that, because there'sa happy medium between digital and practical.
Right, So if I create this, for instance, the chimpanzee and usher,
that is all practical, but maybeyou need to see the eyes blink
that might be a digital enhancement.Most of the time we even have all
(41:07):
those blinks and everything in there,but there's that medium of where there's certain
limitations what you can do with apuppet and what you can do with digital.
So I think you have to alwaysbe open minded and marry the two
together, but still having a respectand understanding that there's still somebody stuck under
a goddamn table with his hand upinside of a chimp that making the mouth
(41:30):
move, you know, getting youknow, carpal tunnel ond my hand.
But I think that's great just tolet people know that there is that that
medium, because yeah, you're correct, people tend to forget that now and
the world of Marvel and everything andpeople flying through the airs and you know,
(41:51):
one last question, so this isreally your your genre, you know,
horror seems to really be your yourgenre for the most part. Like
you, I look at your youknow, list of credits and it's a
lot of that. If someone calledyou up, you know, just doing
like a rom com or you know, like a sorry like my husband loves
(42:14):
rom comms, but or just likea drama, you know, would you
would you be like, yeah,hey, that'll be a nice change.
Are you just like no, giveme blood and gots and gore. Nope?
If they called me for a wrongcom I'd say, what day do
I start? Really absolutely, soI used to do just straight makeup,
and I do all duty makeup andstuff also, and sometimes those shows are
(42:38):
a nice break between the other ones. I can do eyeshadow and lipstick.
It's the same every day, andyou run It's like, that's great.
I don't have to worry about bloodtubes not working and this not working,
and I'm fixing things until midnight.So no, no, no, I
welcome any of that. Actually,uh, but yes, I do find
(43:00):
in the horror genre, and notjust horror, but like when we get
to do old age makeups and fatmakeups and all this stuff, it's constantly
changing. Yeah, So I've departmentheaded and I've run big shows that are
just straight makeup shows, and literallyyou're doing the same makeup every single day.
So I like the challenge and Ilike it, you know, to
(43:22):
mix it up. It's vampires thisday, it's zombies this day, it's
whatever. You know. I enjoythat. So I would say that's more
of my thing. I'll do anymakeup on whatever show. But I do
enjoy the constant change, you know, in the environment. If you will,
can you take a look at mymakeup. Now, I'm just kidding.
(43:44):
Okay, So what we're gonna needto do now is just fill it
enough. Well, what I tellevery actor, I'm like, I swear
I'm not being a creep that I'mjust staring at your face, but I'm
constantly staring at your makeup. Wow, because you're just like, as they're
talking to you, you're just like, Okay, that could be better,
that could be tighter. It's wow. Really, So when I come to
(44:07):
your house to play with all ofyour toys, then we can go into
your makeup room. You can domy makeup. We'll do a makeup demo
on you. Yeah, and youcan check out all the human skulls and
all the other stuff that's We'll comeover Stacey can get her makeup done,
and I'll just play with all theStar Wars figures. This will be great,
Oh yeah, because this is nothingthat I have, every figure that's
(44:28):
inside and all almost everything in thebox too. Wow. Okay, my
god, I cannot begin to tellyou how much I admire you right now.
I really do. Some people havedrug problems. I have a toy
pros. Well, thank you somuch. You really have done an unbelievable
job on this show. I'm Imean, I was impressed with you before
(44:51):
I spoke with you, and nowI'm I didn't even know what to say.
I'm so impressed with you. Thankyou, Ozzie. We really enjoyed
having you on the show. Ohthat was great. Thank you so much
for everything that was amazing that interviewwith Ozzie. I mean, I learned
(45:12):
so much. I had no ideanone. And first of all, it's
insane how much work that guy does. And then when he's done doing his
work, he's like, hey,guys, how about I do the puppets?
You know what I mean? Likehe's like it's some sort of miracle
worker. I'm going to be honestthat when you read his intro and you
said that he's a puppeteer, yes, I kind of paused in my mind,
(45:34):
thinking what does that mean that he'slike on a stage with like,
you know, Pinocchio, Like Ididn't know what I was. That's something
ridiculous. That's right, Pocchio.That's what he does, like Marion nuts
or something. He's a puppeteer,Like what is that? Yeah, that's
(45:59):
right, it makes sense now thatwe know what it means right, but
that was yeah, the puppets thechimps of course, of course, and
he's actually like credited for that becausehe must be doing that more than once.
Well certainly, yeah, I meanthe quest. No, it wasn't
(46:21):
the quest. It was the No, it was it was the Quest.
He did puppets for that as well. I mean, I guess it makes
sense, right if you think aboutit, If he's designing this sort of
silicone material to be able to emulateskin and emulate you know, movement,
human body movement. It's a smallstep in theory from like creating what looks
(46:42):
like body like movement to be ableto just be like, well, you
know what, I'm just going tomake a move. I'm just going to
get my hands in there and moveit around, right. I mean it's
like acting too. It is acting. It's totally acting, which I think
he's approved. He's he said thathe's in a sag Acra puppeteer right,
right, is a thing of coursefor Pinocchio and Chips. So if you
(47:13):
need that horror marionette fantasy you've alreadydreamed of, how the Alvarez is your
man will make you regret ever,wanting Pinocchio. I also want to say
that. I mean, I thinkwe were joking about going to his house
for the most part, but notme. I totally want to go to
(47:36):
his house. I do. Iwant to. I mean, like,
yeah, I wish the audience couldsee what it what we saw, but
it is, Oh my god.It is literally thousands and thousands of dollars
of skateboard decks and action figures onevery single surface surrounding that entire large room
that he was in. It's reallyimpressive, right, and that was just
one room. Yeah, apparently that'shis back room. Yeah, and that
(48:00):
he has a whole other thing that'scoming. Yeah. So Ozzie, if
you're listening to your episode, letit be known that I'm Lindsay and I
actually do want to come to yourhouse, and we'll be awaiting an invitation.
I'm a huge fan, and wecould do with podcasts there. We
could do the podcast there too,an episode that would be awesome. It
sounds like a plant. Yeah,well yeah, I don't even know how
(48:22):
to top this, but I justwant to say thanks so much for joining
us everybody on this episode of Psychoanalyzingthe Fall of the House of Usher.
It looks like our time is upon our session, but we hope to
see you again next time. Byebye. Psychoanalyzing the Fall of the House
of Usher is a production of strawHut Media. Your hosts are Stacy and
(48:45):
I and Lindsay Jones. Your produceris Maggie Bowles. Editing and sound design
by Daniel Ferrara. Theme music byAdrian Baranker, with additional music from Marco
Martini and Artie Son. Subscribe,rate and review, and come back for
new episodes every Friday, and tellus what should we psychoanalyze next. Let
us know by emailing us at psychoanalyzingatstrawhumedia dot com. See you next week.
Strawut Media. Hey everybody, I'mLindsey Jones and I'm Stacy Nye and this
is our next session of psychoanalyzing theFall of the House of Usher, featuring
makeup artists from the show Ozzie Alvarez, who is going to show us today
(00:22):
how he will not only make theblood that goes on the victim of the
people in this show, he alsooperates the monkeies that kill you. It's
gonna be great. Yes, it'sa very fun episode, so stay tuned.
Our session starts now. Okay,So I am now going to do
(00:48):
the episode three recap Murder in theRoom Morgue, and I'm giving a spoiler
warning and a trigger alert today foranimal cruelty and death, so please be
aware as you continue to listen.Okay, there are three and a half
main plot points for this episode,Perry's crime scene, Camille, Ligodon,
(01:10):
and Napoleon, and these are notrecapped in order. So first, there's
updates on Perry's Grizzly crime scene.Seventy eight people died in that orgy.
We've confirmed Perry's death. We've confirmedone survivor, which turns out to be
Frederick's wife, Marilla who had allof her skin burned off. And we
(01:30):
confirmed that the tanks containing toxic wasteand that's why everyone died. So you
knew that, Lindsay ahead of time. I didn't. Oh. Well.
Then we have some background on thedrug ligadone. It's currently being sold on
the street as Monty, both Perry, and Napoleon are users. It was
quote stolen way back when by Roderick'sboss, Rufus Griswold. Madeline coaches Roderick
(01:57):
to make Rufus think he's loyal andthen eventually suggests that she stabs him in
the back. So Annabelle is horrifiedby Madeleine's ruthlessness and more about that in
future episodes. Then we see followinga drug fueled grieving party that Napoleon has
hosted, played by the way byRaoul Coley, who is a haunting regular.
(02:22):
He wakes up with the blood onhis hands, apparently he had gruesomely
killed his partner Julius's cat Pluto,the night before. He cleans it up
and then lies to Julius about thecat's whereabouts, insinuating that may be they
had let her out by mistake.Then we have Camille played by Mike Flanagan's
(02:44):
real life partner and regular on Allthe Haunting series, Kate Siegel, looking
smashing by the way. In WhiteHair, we learn about her job as
Fortunado spin artist, and we alsolearned that she's been investigating her half sister,
Victory chimpanzee heart mesh research and shefinds out from her two assistants that
(03:06):
there were some irregularities in her reportingVictorine's reporting of the chimp's death. So
Camille is really hot and bothered aboutthat. Later in the episode, Camille's
assistance quit because they don't like thefull service duties required in their job description,
so Camille takes it upon herself tovisit Victorine's lab on her own in
(03:29):
the middle of the night to getthe dirt she needs. Verna is there
at the lab. She's actually everywherein this episode. She's the masked woman
in pictures from Perry's party. She'sVictorine's first human subject. She's Tamerlane and
Bill's new sex actress, and she'shere at the lab as the security guard
(03:52):
when Camille shows up. This isa hard scene to watch with the chimps
in cages, they're obviously not beingcared for well. Camille is taking pictures
of all of them, and thenwe see one of the cage doors open
and Verna suddenly appears in the lab, having been transformed from the chimp.
(04:14):
That's not clear at first, butit becomes clear as it goes on.
Verna is spewing her hatred of theUsher family, and then she starts to
transform back into the chimp, andshe's howling with rage, getting all of
the chimps all hot and bothered,and we just assume that she attacks because
the next morning, Camille is founddead, having been brutally slaughtered by the
(04:40):
scary looking chimp. Not the wayyou want to go out. None of
these people go out the way anyonewants to go out, right, Okay,
Actually, that is a point thatI'd like to bring up, which
I think is really interesting in thisepisode because in episode two they go to
great lengths to say, and nowI'm going to tell you a story about
(05:01):
how my son Perry died in ahorrible accident, right, and they had
set that all up, But theydon't do that in this episode at all,
and so your spend the whole episodebeing like, wait a minute,
is this the child that's going toget it in this episode, because all
of them seem like they're on thebrink of something bad happening to them.
Yes, And so by the timeyou get to Camille in the laboratory,
(05:21):
you're like, uh, oh,I think this may not end twelve right.
Well, wherever Verna shows up,you know, is where you're going
to see someone die, right,you know, like definitely not good.
Not good. The other thing Iwant to say about this episode, I
(05:42):
want to say this to Mike Flanagandirectly. Mike, if you're listening,
and I'm sure you're not, butperhaps someone who knows you is and will
get this message to you. Iwant to say something as directly as I
can as a person who makes theirliving working in live theater, right,
which is what I actually do whenI'm not hosting the show, And I
just want to say number one,to the person who's listening to this,
(06:05):
if you wanted to pass along thatyou're really enjoying this podcast and that you
would like you think it's a goodidea for Mike Flanagan to write us back.
Please encourage him to do that.But number two is Mike Flanagan in
short order puts two monologues into thisepisode, one about the lemon, which
is brilliant said by Roder Kusser,and then minutes later we have this incredible
(06:30):
monologue from Camille about how she's gonnabasically spin the entire thing. And I
just want to say this to you, Mike Flanagan, if you're listening to
me, I really believe you havegot an amazing play for live theater somewhere
in you. And I know thatmaking all these hard films are really fun
and probably really lucrative, but ifyou ever wanted to not make any money
(06:53):
and just indulge that side of yourwriting, I'm begging you please come to
Live theater and also hire me todo your music and sound design. But
seriously, though, please write aplay Mike Plan again. We really really
would love it. So that's whatI wanted to say. What am I
going to do when Mike Flanagan writesyour play? I could be maybe the
(07:14):
psychological consultant, yes, the psychologicalconsultant, and or leading the audience talkback.
You'll be the person after the playcomes out and says, all right,
how does everyone feel now that they'veexperienced this play. Yes, yeah,
I could do both and you know, bring my my Pinocchio pupps.
Sorry that murder everyone. You're goingto hear more about that later. But
(07:36):
suddenly Ai Alvarez just takes his vengeanceon all of us. Speaking of which,
yes, we have a great showfor you today. Ozzie Alvarez is
on Lindsey. Tell us about Ozzie. Okay, let me introduce today's guest.
(07:59):
Ozzie Alvarez is a special makeups effectsartist and a puppeteer whose work has
been seen in such films as SawX, Aquaman, Logan, An Army
of the Dead. He has wonan Emmy Award for his work on The
Quest, as well as both aChainsaw Award and a Screamfest Festival Trophy for
(08:20):
his work on Splinter. We aresuper excited to have him today. Please
welcome Ozzi Albarez, makeup artist forthe Fall of the House of Usher.
Well, thank you for having me. I appreciate it. We are so
excited to have you with us.This is great. Okay. Can I
just say I feel like I haveto say this to our audience right away.
We're interviewing Ozzy, and obviously thisis an audio interview. But I
(08:43):
wish you could see the video ofthis right now. Ozzy's room where he
is is covered in skateboard decks andas I was corrected earlier, amazing action
figures that span the entire length thisroom. Yes, it's all from the
seventies to the early nineties. Wow, it's really amazing. Again, this
(09:07):
is what I spend my money on, right, Like, imagine the scene
from forty year Old Virgin times athousand. There's like thousands of action figures
and they're all much cooler. ButI'm actually married, so not forty year
old version. Okay, right,right right, thank you for setting the
(09:28):
record straight on that. But sheloves action figures also, so it all
works out. Oh she sounds perfect, a match made in heaven exactly.
How well. We're so excited totalk to you about this show, Ozzie,
and I'm really really interested in allof the incredible makeup effects and theoretically
(09:50):
we're talking about episode three today,Murder in the Room Morgue. But I
have questions about you know, episodetwo, because oh yeah, man,
you're gonna have to refresh me onsome of it because I've already watched the
first two episodes. Okay, I'vebeen busy, so I tried to watch
the first two episodes just so Icould refresh my memory and how the order
(10:13):
that they put everything. You're notmuch behind me. I'm also taking this
one episode at a time, soyou and I are right on target with
each other. I appreciate you youbeing in the same place I am.
Well. So in episode three isthe episode with Camille and the chimps.
I don't know if that's enough ofa refresher for you. What three has
a lot of a lot a lotof is disfigured bodies, Like it's got
(10:39):
disfigured bodies from one end of theepisode to the other because of the acid
bath that everyone takes at the endof episode two, Right, so we
start the episode with the aftermath ofthat. Actually, this brings up a
question I really want to ask becauseI'm dying to know. Because we're interviewing
(11:03):
you right now, and then ournext two episodes, we'll be interviewing Lauren
Kelsey, who's the production designer,and then we'll also be interviewing Krista Elaine
and Brett Kulp, who are thevisual effects designers. With something like that
where you've got a room full ofpeople who have technically been disfigured. How
much of that is makeup versus howmuch of that is production design versus how
(11:28):
much of that is visual effects?I would actually say in that sequence that
you're talking about is ninety percent makeup? Really? Yeah, So how that
whole scene came to life was originallythey weren't supposed to be in lingerie and
stuff, so they were going tobe covered more so we didn't have to
(11:50):
do a gigantic makeup. I seeit developed into this thing where they're like,
no, no, no, it'sa lingerie party type of thing,
so we need to expose more skin. So from doing that myself Kelsey Burke
who was my key makeup, andthen Mike Fields was a Canadian makeup artist,
and then Harlow McFarlane and we fabricatedthat's a term in our industry of
(12:18):
making these big burned suits on spandexsuits wow. And we made eleven of
those that were suits. And thenwe also did the Perry makeup, which
was a full prosthetic makeup. Andthen Todd Masters Effects, which is another
company in Canada in Vancouver, theydid an additional ten people would just what
(12:43):
we would call a stage two makeup, so they weren't as crazy as the
ones that we did, but justto get the environment correct. And then
they also supplied a bunch of theskeletons and other things. But for the
most part, about say ninety percentjust practical. Wow. It was a
lot of work. That was thebiggest episode for us by far. That
(13:07):
was like we were there at Ithink three in the morning and worked you
know, eighteen hours that day.Wow. Because that's why I was thinking.
I was thinking, well, someof this must be digital effects because
the scene it does. Looking atit seemed like it would be an insane
amount of work. It was,and you know, oddly enough, one
of the funniest things about that entirescene was the blood on the floor,
(13:31):
which immediately I said, hey,guys, we got to move all that
blood because people are going to beslipping and falling. So we ended up
making little pads that had a pathwayyou know, through that scene so they
wouldn't slip and fall. So youknow, normally we make these bodies,
we cover them in blood, butno, you know, not a lot
(13:52):
of people think about the safety factor. If you will, yeah, I
can imagine. But that was definitelythe most intense scene. So did you
have any like oce moments at all? We always do in this industry.
Yes we did, because we'll dothat on another interview, but yes we
did. When they production added morepeople to the day, Oh really yeah,
(14:15):
so you know, you don't thinkabout it when you say, oh,
we need sixty people in this roomand it's going to be packed full.
Yeah, but when you put sixtypeople in there, sometimes it doesn't
look like that many people. Ohwow. So they were adding more and
more and that's why we ended updoing more makeups on the day. And
(14:35):
that was probably three days before weshot the scene. So that was the
oh shit moment where we're like,oh shit, we got to go make
a bunch of extra suits, morerun, more prosthetics, you know,
be prepared for that day. Sowere you like expecting twenty people and then
suddenly it was sixty people? Isthat what happened? Exactly? Exactly?
(14:58):
Yeah. They were like, there'salways going to be sixty, but you
only have to do makeup on tenpeople, okay, And then it became
no, no, no, no, we need another ten people that need
to have makeup on and that's whereMasters Effects from Vancouver stepped in because I
was like, I can't do thatmany people with three days before the thing
(15:22):
shoots. So they stepped in andthey did like what we would call like
a level two. So ours werethe most extreme. Theirs were a little
bit, you know, less extremethan ours. When you're doing your makeup
on a single person, how longdoes that take? How long does it
take to put through the process.So, for for example, speaking about
(15:46):
the same episode for the Perry makeup, two people myself and I believe that
was Harlow McFarlane that did that makeupwith me. It took us maybe an
hour and a half to two hours, because I mean, normally that'd be
a way bigger makeup. But fromhere down is a suit that we fabricated.
(16:08):
Originally it was all prosthetics. Whenwe did the makeup test, it
was probably closer to four hours.Oh my gosh. And then we're realizing,
like there's ways to cut corners andmake this more efficient, and then
all the face everything is all multiplepiece prosthetics. So yeah, two people,
I think we got that one downto like an hour to an hour
(16:30):
and a half. That's still tentwenty people. Yeah, Perry's makeup was
the most extensive, got it.All the other people that they added on
were the suits that we fabricated,and they had a more minimal makeup application.
They weren't full prosthetic pieces. Uhhuh. They were what we would
(16:51):
call transfer pieces, which are smallerpieces here and there, and then we
kind of tie it in with themakeup. Yeah, there's no way we
could do that many people in aday's work. Yeah. And is it
the actor, the genuine actor whoplays Perry always in that suit, Yes,
it is. He wore the makeupevery single day. We had no
(17:12):
double for him. And you know, that's actually a very good question,
because a lot of times, ifyou're unrecognizable, we'll just put a double
in there. But he wore itevery single day, and he was a
trooper because it wasn't a fun process. And then the other thing that a
lot of people don't ever think aboutis the removal process. So then you
(17:33):
have to think about another you know, forty five minutes to get out of
all the makeup, Oh my gosh, after shooting a sixteen hour day,
Oh my gosh. Yeah, andthen of course you've got to be back
early the next day to get backinto it. In our industry, we
have a ten hour turnaround, rightthanks for the new contract. Before we
(17:53):
had an eight hour turnaround. Soliterally, you finish, you go home,
you turn around, and he'd comeright back and got for the new
contract. Yeah, exactly. Perrywas doing more than just laying in the
pile of dead bodies. He hadmoments where he was face to face with
Roderick having this very intense you know, staring down at him, and you
(18:19):
know, so I imagined that wasnot comfortable for him, to be honest,
he was not real comfortable in themakeup. Yeah, period, and
of course on this movie he hadthe most extensive makeup than any of the
other characters. But he was atrooper. I think the only the only
(18:40):
thing that we had to change washe couldn't continue to wear the contact lenses.
So when you watch the show,the eyes are digital where everyone else
are actual contact lenses. He wasonly his eyes kept getting more and more
irritated every day, and so wewere finally, like you know, went
to the producers and said, hey, guys, he's not going to be
(19:03):
able to do this. Let's youknow, it has to be digital.
Wow for the dead eye effect,Yes, exactly, when it's kind of
just that blank look. I wantedto take a step back Asie and just
sort of ask you. Right beforewe started our interview, you mentioned to
us in passing that you were apro skateboarder, and I'm just fascinated to
know how you went from being apro skateboarder to being a professional makeup artist.
(19:27):
I mean, I'll give you theshort version, but you know,
I turned professional skateboarding in nineteen ninetyone and skated professionally toward the world,
did all that stuff, and thenmy wife at the time had a job.
I was living in San Diego.My wife at the time had a
(19:48):
job interview in LA and I'm like, what am I going to do?
I'd already kind of been tapering offmy skateboard career, and I love makeup.
As a kid, I was amonster kid. I love faningor magazine
and all that stuff, and soI went to a makeup school and I
started over from at you know,thirty years old almost wow. And now
(20:08):
I'm twenty years into this. Andwere you like a super horror fan as
a as a kid? Yeah,I mean yeah, I was always a
weird kid. So yeah, ofcourse when I was in high school,
I had a twelve inch tall redmohawk, So wow, growing up in
Tennessee, by the way, soI bet you stood out that that was
(20:30):
unique back then. So yeah,that's kind of the evolution. And then
yeah, like I have twenty yearsin this business now and worked on,
you know, over one hundred projects. That's really incredible. Okay, I
have another question, which is becauseso much of this show is focused on
(20:52):
horrible things that happened to these peoplethat are killed in really horrible ways,
and then of course we see theirbodies sort of come back in the afterlife,
where it's still not entirely clear,but we see them as spirits beyond
their human life, where obviously yourmakeup is on them as well, correct,
(21:14):
and they've all died in these incrediblybrutal ways. Do you spend a
lot of time looking at pictures andvideo of wounds? Like what percentage of
your life is about looking at thingsthat are horrible accidents to happen to people
and trying to figure out can Ireproduce that somehow? Well, unfortunately,
(21:34):
yes, I do, like andit's as I've gotten older, it's harder
to look at. Yeah. WhenI was younger, you're like, Okay,
look at that, that's you know, gross whatever. Now I'm just
like, uh, I need toresearch an actress's face getting ripped off by
(21:55):
a chimpanzee. Well, guess what, it happens more often than you think.
Yeah, and myself and Kelsey Burke, who is my key makeup artist,
we have an entire library of photosthat are all real, and half
the time we can't do those onscreen because you would think they're fake.
(22:17):
Really, it looks it's so overthe top looking you would think it was
fake. So most of the timethe stuff that we do is a tame
down version of what it really lookslike. Wow. Yeah, So you
get the brief right from the showwhere they're like, Okay, this person
dies by being mauled to death bya chimpanzee, which is what happens at
(22:38):
the end of episode three to Camille. Correct, then you and your associates
have to kind of just go outand figure out what that looks like.
Yeah, and you have again kindof what I was alluding to. You
have to come up with like ahappy medium. I see, So you
want it to be discussing and grossas realistic as possible, But as I
(23:03):
said, a lot of times,the realistic stuff is, you wouldn't think
it's real. So we we kindof marry the two together and come up
with something that's you know, acceptableby the audience and not being too over
the top. I guess that's thebest way to say it. Ozzie.
What was your favorite piece of makeupto work on, maybe from the first
(23:25):
three episodes, since we haven't talkedabout the others yet on the show,
was there any favorite? Actually,yes, my favorite makeup pretty much that
it did on the entire show wasthe character I believe it's Morilla, Yeah,
and so it's also during the wholePerry sequence, but that makeup carries
on through the episodes because she's bandage, so you know, there's multiple stages
(23:52):
of that, and personally I findthat to be one of the better makeups
on the show. When you getthat review of her and you're like,
oh shit, yeh, she wasthere too and she's still alive. Yeah,
So that was a great makeup thatI was proud of. Were there
different stages of that makeup? Imean, like I know, in the
(24:14):
end of three, we sort ofonly really see the back of her head
a little bit. We don't seethe full thing. And then later I
bet we see more. You getthe full reveal. But the stages were
more making it look more irritated,you know, like it was possibly getting
infected or healing, you know,you know, so we had to kind
of add a few different things intothere. But that makeup I think is
(24:38):
very effective. So when you seeit for the first time and then you
start to get some reveal throughout theseries, I think that's the most effective
makeup personally. Wow. And thatwas all a silicone makeup, multiple piece
probably twelve different pieces of silicone thatcreate that entire makeup, and then we
(24:59):
hand lai hair and stuff into it. So you see the little wispy pieces
of hair. Yeah, so allthat, all that is hand laid into
into the prosthetic. Wow. Ohboy, thanks. You just haven't ever
I have never thought about like that. Yeah, no, I know.
We always get the you know,the phone call from producers, hey do
you have an extra like arm layingaround or a leg and you're you know,
(25:21):
it's like, no, I don'tjust have a box of them.
And then but you know, youwant a leg, but you need to
have the leg hair, you haveto have. All that stuff is hand
punched into the prosthetics and it's veryvery time consuming when you're building a prosthetic
something like that. Let's say forMarilla right where you have to basically kind
of like cover her entire bed.You make the prosthetic, and then you
(25:45):
have to fit the prosthetic and thenyou have to sort of work it on
to the person. Is that right? Uh? No, Okay, tell
me what it is. I haveno idea. It's it's exactly what you
said, but in reverse. Oh. So the initial thing is you do
a life cast of your actor.Okay, so a life cast is we
(26:07):
use now, we use a siliconbased material and we cover your head in
that obviously your nostrils are open andall that you can breathe. And then
once we make that casting, wemake a positive of that, so it's
an exact replica of your head.Or sometimes now we'll just three D scan
it. It depends on availability andstuff. Wow. But then it's the
(26:30):
sculpture is on top of your lifecast, got it? So it's exactly
to your measurements. And how longdoes it take to sculpt on top of
the life cast, because I betthat's the hard part it is. It's
probably depending on how intricate it is. Could be two weeks, be a
week, two weeks. Then fromthere you have to mold it. You
(26:52):
have to separate all the pieces.Now you're talking about another week to two
weeks. So just to do thatand makeup is probably a month of work
with eight people doing it in differentdepartments, you know, whatever their specialty
is, if it's mold making orsculpting or but yeah, it's way more
(27:14):
time consuming than most people think.Yeah again, back to what I said,
I don't just have a box ofheads and arms and stuff laying a
round. Everything's custom made. Sowhen you get a call to a project,
how far in advance are you gettingthat call? Well, depending on
the project. I normally I workwith a company called Fractured Effects, and
the owners justin Rawley. Him andI have been friends for over twenty years,
(27:38):
so he actually owns the facility thatmakes the prosthetics and then I'm normally
the guy that takes them to theset and applies them to the actor.
So it could be two months inadvance, it could be six months in
advance. It really depends on howbig the project is. Something like the
(27:59):
Marilla makeup, for instance, threemonths. Because you have it's back and
forth with designs, directors, producershave to approve the design. Once that's
approved, then the sculpture happens,so there's two weeks. Then the molding
happen. There's another two weeks.Then you have to actually cast the silicon
pieces. There's another week, soit starts to add up. And that's
(28:22):
why I made the joke of like, people just think it's just laying around,
but it's not. Yeah, youdon't have a graveyard full of parts
somewhere. I mean I do,but they're all x ys. I'm kidding.
Don't let my wife out, Okay, no, right, right right.
I'm wondering about some of the lessgory details, like how is it
(28:48):
decided that, you know, Camillewill have white hair. How is it
decided that Napoleon has all these tattoos? Like is that are those in the
notes? Are those things you decideon your own? How does that all
come together? Everything that you mentionedwas all done by Mike Flanagan and Trevor
(29:11):
Macy. They came up with theideas with the tattoos and all of that,
and depending on the show. Normallywe would do all the tattoos,
but the straight makeup department did thetattoos for him. OK. And the
hair color was also I think thatwas a choice from her that she wanted
to have that color hair. Sothey've been very good about taking other people's
(29:34):
suggestions on those scenarios. But yeah, all of that was kind of all
done above the line and then theyjust give it to us and they say
this is what we want and thenyou do a test and if they like
it, then we move forward withit or we'll do some changes. Right.
So what's it like working with thestraight makeup department? I mean,
(29:57):
like, how do you guys workthat out? I've done a couple of
shit. Well, this is mysecond show with Mike Flanagan. I also
did Midnight mass Wow up there,so have a relationship with the other makeup
and hair department. So it's kindof nice going into it where we sit
(30:17):
down, we'll open up a script. I have all my notes, they
have theirs, and that goes likeare you going to do this one?
Do you want me to do thisone? And we kind of go back
and forth. You know, it'slike can you create this look or do
you want me to take that offyour shoulders? And I can do it.
So it's really a balance between thedepartments. And it's been amazing working
(30:38):
with Christa Young she's the department headup there, and you know, just
coming up with a nice flow sothat on the day we're not staring at
each other going wait, who's doingthis, who's doing that? Yeah,
So you know, we try towork it out in advance. And again
there's some things that are a littlebit more in depth that will do.
(30:59):
Like, for instance, the momin the episode one, which is all
muddy and everything. The straight makeupdepartment did that makeup, I see.
But then when I watched it lastnight, I noticed they did a digital
enhancement on top of it, likethe big scar through the eye and things
like that that wasn't in the originalsegment that we filmed. So they went
(31:21):
back and did some stuff. Butsome of the more minor things like that,
like just mud dirt, some blood, we usually don't do that,
you know, unless regular makeup needsextra help. I see, who did
the cats make up? Oh?I did? No? I actually I
puppeteered the cat. What's okay,let's talk about that please. Well,
(31:45):
okay, so unless there's another scene. What I saw last night when I
watched the episode when the cat jumpsout of the like the bookcase area,
Yeah, originally that's me with acat puppet on my hand reaching through,
and I think it got edited out. But originally we went through and there
(32:08):
was an extra a paw that couldscratch his face. Remember he had like
the scratches on his face. Sothat ended up being a reshoot, I
think, and I wasn't there atthat point, but yeah, we had
a full puppet cat that came outthat I puppeteered myself, and Kelsey Burke
(32:28):
puppeteered. She did the pause,I did the head. Now, there's
a lot of elements in there.Even the chimpanzee was a gigantic puppet that
we're hiding under the table, makingit move and the heartbeat and all of
that stuff. So wait, youdid the chimpanzee too, Yeah wow yeah,
yeah, So Fractured Effects built itand they did a beautiful job.
But then myself, Kelsey Burke andHarlow McFarlane, we're literally under the table.
(32:55):
I'm making it move, one personis made in the lungs move,
one person is doing the heart.There's a whole thing. Yeah, you
never you never realize when you seea scene that there's like three other people
under a table they're making it work. Yeah, okay, I need you
to help me out understanding this becauselike heka, my mind is blown that
(33:15):
you did make up for all ofthese people, right, and then like
yeah, I don't know. Somehowin your free time, you're like,
you know what, guys, I'mgonna also puppeteer all of these animals.
How did that happen? It worksout like this. We're in Vancouver filming.
They don't want to bring another personup from Los Angeles or hire another
(33:37):
puppeteer in Vancouver, so they're like, hey, your sag puppeteer, you
can do this right, And I'mlike, yeah, after I do all
this other stuff, no, wejust balanced the time. But you know,
that stuff is fun. I mean, it's it's fun stories to tell
like this, where again, anormal viewer would not understand that there's three
(34:00):
to four people under a table movinga damn chimp around, making it think
out and beating the heart and youknow, you just think it. Nowadays
people are spoiled and they just thinkit's all CG. Yeah, that's what
I thought. That is exactly whatI thought. All of the Chimp was
practical everything that I've seen so far, I've only seen three episodes, so
(34:21):
if we cut back to it,I can't guarantee that. And again,
when I was mentioning earlier about likethe hair and all that, all of
that chimp was all hair that waspunched individual. Oh my goodness, all
around that womb. I mean you'retalking over a week of just punching hair
into that thing. Wow. No, I haven't seen, Like I said,
(34:43):
I apologize, I haven't seen everyepisode yet, but that puppet is
amazing, and if you get ashot of it full body, it's it's
really good. Yeah. Yeah,I mean I'm very impressed with what I've
seen of it. And even justso the end of three where Camille takes
a picture and you sort of seethat full puppet in the lens for the
(35:06):
first time, it's really it's reallyscary. I mean, like it looks
good, right, it looks fantastic. Yeah, Then we did our job,
you did. I really thought itwas CG. I honestly did no.
Now all practical, literally, it'sthe way it's built. You know,
there's tubes and little bulbs that pumpthe air. And so if you
(35:28):
watch that scene again when they showthe heart mesh, there's actually two different
heartbeats going. One's going for themesh, one's going for the heart,
so there's kind of a double doublebeat happening. So these are all just
little things that a lot of peopledon't understand or you know, they don't
realize. But there's a lot morework to it than you think. Wow.
(35:51):
And there's a few chimps in thatin that last scene, you know,
there's a few in cages. Thoseare all digital. Those are okay,
all right you. Funny story isthat I didn't see that part in
the script. So when I watchedit last night, I'm like, oh,
there's other chips. Shit. Yeah, I didn't even know that.
The way it read it was kindof just like a camera kind of panning
(36:14):
through, and you didn't know therewas going to be all that those chimps
in there. So yes, youknow, unfortunately, fortunately those are all
digital, but it would have beennice to have another puppet in there too.
So so the main chimp. Thatverna is kind of trans you know,
becoming back and forth. That's theone that was the puppet, correct,
(36:36):
the one that's on the table andthen on the ground, on the
ground with Camille at the end whenit goes when it growls. Is that
a puppet too or is that CGI? That's all that's all digital, Okay,
all all, all the practical stuffwas on the what i'll call the
autopsy table. That was everything.There was all practical, even you know,
(36:58):
the cutting the incision and the stitchingit back up. All of that
stuff. We actually had to havea funny We had to have a medical
advisor come in and do the properstitching through the puppet, you know,
just so it looked right. Idon't know how much got cut out on
that episode again, but yeah,there was a whole scene of stitching up
the incision. The body of Camillethat's next to the digital chin at the
(37:22):
end. That's her, that's he, that's her body, and that's your
makeup on her body of her beingmore correct. That's it. Yeah.
Yeah, So we did what welike in our industry we call the aftermath.
So you just you see the goreand I think even when you see
her, there's a couple of shotsher as a ghost in the background.
(37:45):
So the idea was that, howeverthey died, that's how they would be
as a ghost. And so that'swhy you see like Perry in the background,
you see Camille in the background,you know that whole And I think
later on, like what Henry's nameis, Henry Thomas, Frederick or Frederick
they like to call him Frederick yes, or Frederick yeah. But you'll see
(38:07):
shots with him. I think therewas one up in the balcony where like
his stomach split open and it's kindof offset a little bit. So we
literally made a prosthetic, which wasa shirt that he could wear so we
could manipulate it, you know,and they could have it move wherever they
wanted. Wow, you mentioned thisis your second project with Mike plan again
(38:29):
you did Midnightmap. Well do youenjoy working with him? What I mean,
how do you how is that relationshipwith him? Well? I do?
I mean, you know, secondone in a row. So hey,
Mike, call me for the thirdone. We want him to call
us too, so we totally getit. Put in a good word for
us, Please ask I'll try we'llsee Okay, No, No, he's
(38:50):
great. He I like it becausehe's very opinionated in the sense that he
knows what he wants, and sometimesas an artist, you need to be
told that because if not, I'mgoing to spend three hours on this thing
making it the way I want it. Right. So I think that that's
part of the pleasure, where like, if somebody comes in and says this
(39:10):
is how I want to do itand make it look like this, I
can do that, right. Butif you're not, if you don't give
me the direction, then I'm justgoing to make it the way I think
it should look. So I thinkworking with Mike is good in that aspect
that he knows the vision, heknows what he wants, and I thought,
you know, the stuff we didfor Midnight Mass was amazing. Honestly,
(39:34):
it was one of the you know, I've got over twenty years in
the business, and that was oneof the hardest shows I've ever done continuity
wise, and the amount of makeupsthat we did every single day, so
it's almost coming back to Usher waslike, oh, this is a cakewalk.
Now the easy show, Yeah,this is the easy show. Yeah
it's not you know, seven oldage makeups every single day for five months.
(40:00):
It was intense. Yeah, itwas a crazy show. Definitely go
go revisit that one, because ifwe do another interview about that show,
I can tell you all the makeupsthat people probably don't even know their makeups
that consumed you know, five almostsix months of my life. Wow,
I bet. I mean, you'vetotally blown my mind already today, So
I can't imagine what that shows.Like, oh, from the skateboards and
(40:22):
the toys well too, but alsojust all the work that's like, you
know, I think it's really easynow as a viewer to just automatically be
like, ah, that's digital.They did that with a computer, you
know, and that there's still atremendous amount of craft that exists that is
not digital. At this point.I appreciate that because I think more people
(40:46):
need to realize that, because there'sa happy medium between digital and practical.
Right, So if I create this, for instance, the chimpanzee and usher,
that is all practical, but maybeyou need to see the eyes blink
that might be a digital enhancement.Most of the time we even have all
(41:07):
those blinks and everything in there,but there's that medium of where there's certain
limitations what you can do with apuppet and what you can do with digital.
So I think you have to alwaysbe open minded and marry the two
together, but still having a respectand understanding that there's still somebody stuck under
a goddamn table with his hand upinside of a chimp that making the mouth
(41:30):
move, you know, getting youknow, carpal tunnel ond my hand.
But I think that's great just tolet people know that there is that that
medium, because yeah, you're correct, people tend to forget that now and
the world of Marvel and everything andpeople flying through the airs and you know,
(41:51):
one last question, so this isreally your your genre, you know,
horror seems to really be your yourgenre for the most part. Like
you, I look at your youknow, list of credits and it's a
lot of that. If someone calledyou up, you know, just doing
like a rom com or you know, like a sorry like my husband loves
(42:14):
rom comms, but or just likea drama, you know, would you
would you be like, yeah,hey, that'll be a nice change.
Are you just like no, giveme blood and gots and gore. Nope?
If they called me for a wrongcom I'd say, what day do
I start? Really absolutely, soI used to do just straight makeup,
and I do all duty makeup andstuff also, and sometimes those shows are
(42:38):
a nice break between the other ones. I can do eyeshadow and lipstick.
It's the same every day, andyou run It's like, that's great.
I don't have to worry about bloodtubes not working and this not working,
and I'm fixing things until midnight.So no, no, no, I
welcome any of that. Actually,uh, but yes, I do find
(43:00):
in the horror genre, and notjust horror, but like when we get
to do old age makeups and fatmakeups and all this stuff, it's constantly
changing. Yeah, So I've departmentheaded and I've run big shows that are
just straight makeup shows, and literallyyou're doing the same makeup every single day.
So I like the challenge and Ilike it, you know, to
(43:22):
mix it up. It's vampires thisday, it's zombies this day, it's
whatever. You know. I enjoythat. So I would say that's more
of my thing. I'll do anymakeup on whatever show. But I do
enjoy the constant change, you know, in the environment. If you will,
can you take a look at mymakeup. Now, I'm just kidding.
(43:44):
Okay, So what we're gonna needto do now is just fill it
enough. Well, what I tellevery actor, I'm like, I swear
I'm not being a creep that I'mjust staring at your face, but I'm
constantly staring at your makeup. Wow, because you're just like, as they're
talking to you, you're just like, Okay, that could be better,
that could be tighter. It's wow. Really, So when I come to
(44:07):
your house to play with all ofyour toys, then we can go into
your makeup room. You can domy makeup. We'll do a makeup demo
on you. Yeah, and youcan check out all the human skulls and
all the other stuff that's We'll comeover Stacey can get her makeup done,
and I'll just play with all theStar Wars figures. This will be great,
Oh yeah, because this is nothingthat I have, every figure that's
(44:28):
inside and all almost everything in thebox too. Wow. Okay, my
god, I cannot begin to tellyou how much I admire you right now.
I really do. Some people havedrug problems. I have a toy
pros. Well, thank you somuch. You really have done an unbelievable
job on this show. I'm Imean, I was impressed with you before
(44:51):
I spoke with you, and nowI'm I didn't even know what to say.
I'm so impressed with you. Thankyou, Ozzie. We really enjoyed
having you on the show. Ohthat was great. Thank you so much
for everything that was amazing that interviewwith Ozzie. I mean, I learned
(45:12):
so much. I had no ideanone. And first of all, it's
insane how much work that guy does. And then when he's done doing his
work, he's like, hey,guys, how about I do the puppets?
You know what I mean? Likehe's like it's some sort of miracle
worker. I'm going to be honestthat when you read his intro and you
said that he's a puppeteer, yes, I kind of paused in my mind,
(45:34):
thinking what does that mean that he'slike on a stage with like,
you know, Pinocchio, Like Ididn't know what I was. That's something
ridiculous. That's right, Pocchio.That's what he does, like Marion nuts
or something. He's a puppeteer,Like what is that? Yeah, that's
(45:59):
right, it makes sense now thatwe know what it means right, but
that was yeah, the puppets thechimps of course, of course, and
he's actually like credited for that becausehe must be doing that more than once.
Well certainly, yeah, I meanthe quest. No, it wasn't
(46:21):
the quest. It was the No, it was it was the Quest.
He did puppets for that as well. I mean, I guess it makes
sense, right if you think aboutit, If he's designing this sort of
silicone material to be able to emulateskin and emulate you know, movement,
human body movement. It's a smallstep in theory from like creating what looks
(46:42):
like body like movement to be ableto just be like, well, you
know what, I'm just going tomake a move. I'm just going to
get my hands in there and moveit around, right. I mean it's
like acting too. It is acting. It's totally acting, which I think
he's approved. He's he said thathe's in a sag Acra puppeteer right,
right, is a thing of coursefor Pinocchio and Chips. So if you
(47:13):
need that horror marionette fantasy you've alreadydreamed of, how the Alvarez is your
man will make you regret ever,wanting Pinocchio. I also want to say
that. I mean, I thinkwe were joking about going to his house
for the most part, but notme. I totally want to go to
(47:36):
his house. I do. Iwant to. I mean, like,
yeah, I wish the audience couldsee what it what we saw, but
it is, Oh my god.It is literally thousands and thousands of dollars
of skateboard decks and action figures onevery single surface surrounding that entire large room
that he was in. It's reallyimpressive, right, and that was just
one room. Yeah, apparently that'shis back room. Yeah, and that
(48:00):
he has a whole other thing that'scoming. Yeah. So Ozzie, if
you're listening to your episode, letit be known that I'm Lindsay and I
actually do want to come to yourhouse, and we'll be awaiting an invitation.
I'm a huge fan, and wecould do with podcasts there. We
could do the podcast there too,an episode that would be awesome. It
sounds like a plant. Yeah,well yeah, I don't even know how
(48:22):
to top this, but I justwant to say thanks so much for joining
us everybody on this episode of Psychoanalyzingthe Fall of the House of Usher.
It looks like our time is upon our session, but we hope to
see you again next time. Byebye. Psychoanalyzing the Fall of the House
of Usher is a production of strawHut Media. Your hosts are Stacy and
(48:45):
I and Lindsay Jones. Your produceris Maggie Bowles. Editing and sound design
by Daniel Ferrara. Theme music byAdrian Baranker, with additional music from Marco
Martini and Artie Son. Subscribe,rate and review, and come back for
new episodes every Friday, and tellus what should we psychoanalyze next. Let
us know by emailing us at psychoanalyzingatstrawhumedia dot com. See you next week.
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