August 20, 2026 • 23 mins
Jay Towers and Jim Bowers return for a special summer edition of the Caped Wonder Superman Podcast, joined by Brandon Alinger from Propstore Los Angeles for a preview of the upcoming Entertainment Memorabilia Live Auction, August 26–29.This super-sized episode takes fans inside some incredible pieces of Superman history, including a Christopher Reeve Superman IV costume that looks like it stepped right off the screen, an original Superman: The Movie clapperboardused during production, and a Brandon Routh Superman costume from 2006’s Superman Returns.Jay, Jim and Brandon talk movie history, screen-used treasures, and the stories behind the props collectors dream about owning. The boys are back and ready to talk some serious super props on the Caped Wonder Superman Podcast.
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Speaker 1 (00:00):
Now the Cape Wonders Superman Podcast with Jay Cowers and Jim.
Speaker 2 (00:06):
Bowers on Iineheart Radio.
Speaker 1 (00:12):
Hello and welcome to another edition of the Cape wonder
Superman Podcast in Detroit. My name is Jay Towers out
in Las Vegas as our friend Jim Bowers, and welcome
to a special prop Store edition. Jim, one of our
favorite times of the year, several times of the year
with Prop Store.
Speaker 3 (00:26):
This time we've got not only Christopher Reeve goodies, but
we've got Brandon Routh too, So we've got the best
for all the fans that love these films. Really exciting,
beautiful stuff. You've got there, guys.
Speaker 1 (00:38):
The Prop Store Auction is happening from August twenty sixth
through the twenty ninth. This is the entertainment memor Billia
Live Auction, which is always so much fun to watch.
Plus there's plenty of things online to bid on. And
our friend Brandon Allinger is with us as always in
La Brandon.
Speaker 4 (00:54):
Hello to you, Hey, guys, thanks for having me on.
Speaker 5 (00:56):
I'm always excited when Superman pieces come through the door
because I know it means we will be talking.
Speaker 1 (01:00):
Yes always, and Jim and I were lucky enough to
be at prop Store. Was it a year ago, Jim,
A little over a year ago. What a fascinating place.
I mean it is for any fan of any genre.
I mean, you guys really have it all.
Speaker 4 (01:13):
Thank you.
Speaker 5 (01:13):
We tried to, yeah, I mean the fun part for
us is always seeing what's going to come through the door.
And we do two of these big Entertainment Member Billia
Live auctions per year out of Los Angeles.
Speaker 4 (01:23):
This is our second one of the year.
Speaker 5 (01:24):
We did one back in March, and I think we
did come up with a particularly great collection of items
this time. So we're really excited, obviously the auction's coming
up fast and excited to see how everything does next week.
Speaker 1 (01:35):
Jim, before we start, maybe you could just give us
just a little brief history on the Superman costumes. There
have been so many through all four of the Christopher
Reeve films, and all very unique for people that don't.
Speaker 3 (01:46):
Know absolutely and this particular auction, they're featuring a costume
that is a combination of Superman four, The Quest for Peace,
and Superman three. So this is really unique, really interesting.
I find it fast that they've found these pieces and
put together a beautiful, beautiful, complete costume. Prop stores had
(02:06):
many wonderful, beautiful Christopher Reeve costumes and costume pieces over
the years. What you often don't or you rarely see,
is really leggings by themselves, else by themselves. But you
do see capes, and you do see tunics, and in
this case, we've got it all. And that's what I
love about what you just never know what they're going
(02:29):
to have, And in this case, we've got a beautiful
Superman for costume, tunic and leggings and they both look
like they're about the same color match, and they will
look fantastic in your home or office if you are
the winning bitter. So in the past, there's been lots
of other costumes out there, but prop Store always seems
(02:51):
to have the best of the best available.
Speaker 5 (02:53):
The thing that stood out to me when we first
took this out of the box was just the beautiful
colors and how the colors just I mean, especially on
the tunic and the leggings. It's, you know, it is
those primary Superman colors that we all love so much.
We actually part of the reason it pops so much
for me, I think, is that not long ago, in
another auction, we had another Superman costume less complete than
(03:16):
this one, where the bodysuit was fairly heavily faded and
the colors just weren't very strong. So to see this,
I mean, this is so fresh. You know, this has
been kept out of the light. I know the suits
can be prone to fading when they're left in the
UV light, especially, this doesn't have any of that. There's
no separation at the boot line. You know, it's frequent
that if these have been on display with a pair
of boots, you would see a specific line there where
(03:38):
it's been protected from light versus exposed to light. This
has none of that. It's been so well cared for.
It's in such great shape. And you know, as you
said in the intro there we do have a mixture
of pieces. So the top and the leggings are from
Superman four. The belt and the cape are from three,
and they are the color variations from three, which of
course you guys know all about as he progresses into
(03:58):
Evil Superman. I believe Eve, the belt is a color
B and the cape is a color C. But at
least to my eye, my untrained super eye, when you
put it together and you look at it, nothing really
feels off. It's not like these colors don't work together.
It's not like they read as improper. I mean, even
the belt there, I think it's you know, it's such
a minor shade difference going from I guess A to
(04:20):
B that I just I think it works brilliantly.
Speaker 3 (04:24):
I would agree with you though. When it's all put together,
it's just absolutely fantastic. Now, the belt is a slight
shade darker as you said, and it and the cape
were probably worn around the time the scenes where we
see Superman blow out the Olympic torch when he lands
by the bridge and he's too late to save the
truck falling over, and then by the time we get
(04:46):
to the bar where he's drunk and he flies to
the junkyard, that's color E. So this is just a slight, right,
slight variation from the normal colors. Now, if I may,
the Superman four costumes i've noticed seemed to be a
little bit less prone to fading, and that, of course,
as we know, Brandon, that fabric and the weave of
(05:10):
the fabric on a four costume is different than the
weave and the fabric in one through three.
Speaker 2 (05:17):
It has a shine to it as well, Jim Right.
Speaker 3 (05:19):
Yeah, it has a shine, but the weave itself is different.
John Bloomfield, the costume designer for Superman four, chose a
different fabric still at Nathan's and Burman's, but he chose
a different fabric for whatever reason. Then the fabric used
in one through three and twenty nineteen. Our friend Martin Laken,
who lives in the UK, came to visit you guys,
(05:41):
and you happen to have a Superman the movie costume
on a on a mannequin, and you had a Superman
four costume on the mannequin, and that's where he was
really beautifully ill. Right, So I think part of the
reason why the fading is perhaps not as much of
an issue with four, and obviously this one was well
taken care of. I think one through three the fabric
(06:02):
probably started out more of a steely gray color and
then was dyed blue, which is why when they fade,
they tend to look kind of steely gray or steely
blue yea. And so that doesn't seem to be the
issue with four. So that's one advantage I think of
owning a Superman four costume. The colors seem to be
a little bit tougher, or maybe they can withstand UV
(06:25):
a little bit better.
Speaker 5 (06:26):
So this is just And do you think the colors
themselves are actually different shades?
Speaker 4 (06:30):
Like I do.
Speaker 5 (06:31):
You had a perfect condition three and four top next
to each other, would they read differently?
Speaker 3 (06:36):
They would. Yeah, here's another thing about one through three.
Just by nature of the fabric, the weave and the dyeing,
the blues tends to change a lot from shot to shot,
and and and in the variations of the way the
costume was lit. Four was lit more like TV. It
(06:56):
was a flatter lighting. To get to answer your question, yes,
you put them side by side. Typically the Superman four
costume is gonna be a little brighter and maybe a
little less teeal. Of course, when you're dealing with a
blue screen flying costume, it's going to be teal because
they have to create a separation. And as we know,
Superman four is exclusively blue screen flying, no front projection
(07:18):
like the others. So yes, you're gonna see a difference.
I think your eye would go to the four. Maybe
if you're really after a brighter costume, then typically a
four might be brighter to my eyes.
Speaker 4 (07:31):
It's very appealing.
Speaker 5 (07:32):
The bright color jumped out when I took out of
the box and looked at it.
Speaker 3 (07:37):
It is and I think that's why, even more reason
why in this case especially, it works really well with
the slightly darker cape. Looks great. Yeah, yeah, it really
really does.
Speaker 1 (07:47):
Oh, I was gonna I was gonna ask you just
talk about the screen matching of the screen matching of
the tunic, because you really you can find this and
that means something to fans and any collector. When you
can match up that s and that cost with a
scene or a frame in the film, it really is special, right.
Speaker 3 (08:03):
And I consulted with the caped Master team, who is
Martin Laken, Greg Vasseloff and Craig Suitor. I wanted to
do a shout out to these guys because they really
helped me with this this cape or this tunic I
call the American Flag Lunar Surface Battle tunic. What I
(08:24):
mean by that is when we see the close up
of Christopher Eve walk up to the American flag on
the Moon, straighten it, and then nuclear Man attacks him
from behind and knocks him down on the lunar surface,
bangs his head against the ground, and then picks him
up by the arms and pulls him back. That is
(08:44):
this tunic. So this tunic has a couple of stains
on it, as you know, Brandon, it's got a couple pulls.
And to me, that makes it even more appealing because
we know, without a shadow of a doubt this is
screen used.
Speaker 2 (08:57):
We know why, yeah, right, And.
Speaker 5 (08:59):
It is fascinating when you go and you start looking
at the essays and just the geometry and the organic
nature of the way the yellow comes together with the red,
and how you'll get a.
Speaker 4 (09:08):
Slightly harder curve here or a softer curve there. Really interesting.
Speaker 5 (09:12):
You know, when you start going through the film in
four K and looking at it frame by frame, how
you can see that variation in the s logo, specifically
from frame to frame a little harder to match the leggings.
I'm waiting for you guys to send me something on that. Jim,
I'm sure you're still working on it, and let us
find it please.
Speaker 3 (09:30):
I don't think we're going to be able to screen
match leggings, of course, I know, just joke, really just
less unless he was maybe there was an obvious scene
where maybe nuclear Man tore his costume open with his
nails or something. But this tunic. Another thing about Superman
four Tunic's is the bowl where the bottom curve typically
has a thinner It's typically thinner that bottom curve in four,
(09:56):
more so than some of the other films.
Speaker 4 (09:57):
Are you talking about right here.
Speaker 3 (09:58):
That's called a bowl, that's the bowl of the shield,
and that helps screen match tunics very much much.
Speaker 5 (10:07):
So.
Speaker 3 (10:07):
That's the first thing I look at when i'm when
I'm trying to say.
Speaker 4 (10:09):
You're saying, how thick is the red material?
Speaker 5 (10:11):
Right right?
Speaker 3 (10:12):
Right? Oh?
Speaker 2 (10:13):
Yeah there, Yeah, you don't notice it.
Speaker 1 (10:14):
You won't notice it until you really look at it,
and then if you start looking at pictures, you'll go, wow,
it's like looking at fingerprints.
Speaker 2 (10:20):
Yeah, they're all a little different.
Speaker 3 (10:21):
If you look at Evonne Blake's early costumes from Superman
the movie, that bowl, that thickness is super thick compared
to as they progress, they got thinner, not all all
the time, but this one that helped us screen match
this tunic.
Speaker 1 (10:37):
Let's talk about the clapperboard. That's we've got to get
into that next. And Jim knows some things about clapperboards
as well, follows them closely, able to identify many of them.
Speaker 2 (10:46):
But as we get to we can zoom in on
that a little bit.
Speaker 1 (10:49):
What fascinates me on these things, Jim and Brandon is
that when you have a date on there, that pretty
much is the last day it was used, right, Jim.
Speaker 3 (10:59):
Well, that was that would have in the last day
was used exactly. And in fact, I've been able to
nail down what they were filming with this clapperboard number one.
They were filming helicopter shots for the big Double Jeopardy
rescue that we all know about in the first film,
and they were filming the Clark Kent to Superman transformation
when he jumps out of the Daily Planet window.
Speaker 4 (11:21):
And so what do you make of what do you
make of the marked K here?
Speaker 3 (11:24):
I don't know for sure. Yeah, yeah, this is a
visual effects clapperboard. Dominic and Denny's Koop were you know,
involved in all the flying, much of the flying stuff,
So the k it might be an internal thing.
Speaker 5 (11:42):
I mean, I love the wear and tear that you
see on these and just you know this, the slate
markings at the top here are very clearly hand painted.
The lettering may be hand painted as well. Obviously it's
it's it looks like a decal. But I'm not sure
that it actually is. It may be painted on there,
maybe with some kind of stencil, but it's just you.
Speaker 4 (12:01):
Know, clapperboards are so great because obviously.
Speaker 5 (12:03):
You've got the film title right there. Everyone knows exactly
what they are. You know. It's kind of a if
you're if you're open to the idea of a behind
the scenes piece as opposed to an on camera piece.
Speaker 4 (12:12):
This is like a one and done.
Speaker 5 (12:13):
This is, you know, potentially all that you need from
a movie you love is the clapperboard on your shelf.
Speaker 2 (12:18):
Does the clapper still work?
Speaker 4 (12:20):
Oh? It collapsed? It clapsed?
Speaker 2 (12:22):
Look at that.
Speaker 3 (12:24):
One of the things I've always see.
Speaker 4 (12:25):
You can use that on the news.
Speaker 2 (12:27):
I will use that.
Speaker 3 (12:29):
One of the things you always see in a clapperboard
with from Superman is that the hinge is rusted.
Speaker 4 (12:35):
So I don't I don't know why shows you the age.
Speaker 3 (12:37):
Maybe it's sweat, maybe it's just from sitting in a
humid storage bin. I don't know.
Speaker 5 (12:43):
And the chalk slate style specifically is a British thing,
you know. Generally you would see the chalk slate style
coming out of the UK. In the US you would
see acrylic clappers, like white acrylic where they're using dry
erase markers and stuff. So you know, so many of
our favorite movies from the seventies and eighties.
Speaker 4 (12:58):
Of course we're made over there, so you'll see clappers
like this.
Speaker 5 (13:01):
From Superman, from the Star Wars movies, from Indiana Jones,
from all those great things done at that time.
Speaker 3 (13:06):
Yeah, and they made many versions of this too for Superman.
Speaker 5 (13:09):
Gotchas, the different sizes for different shots and depending on
how close they were.
Speaker 2 (13:13):
Yeah.
Speaker 1 (13:13):
By the way, this auction if you're a superhero fan,
a DC fan, Marble, whatever it is, there's plenty in
this auction. But the Brandon Routh Superman Returns costume. When
we learned Geese Jim, when was it two thousand and
three that there was going to be a Superman movie
that was connected to the Reeve films, The first thing
(13:34):
we all wondered was what is this costume going to
look like? And I think we all remember, I think
it was on the cover of USA Today at least
that was one of the publications that first showed this costume.
Speaker 2 (13:43):
And it was very different from what we were used.
Speaker 3 (13:45):
To, right, very different, I do.
Speaker 2 (13:48):
Know, different, well, just different different.
Speaker 3 (13:51):
There were many variations of this that Brian Singer had
to choose from yeah somewhere a brighter color, brighter red, etc.
And this is the one that he chose. It reminds
me really somewhat of a George Reeves costume with a
high collar and the smaller shield on his chest, which
is more of it's attached. It's a rubber shield on
(14:13):
his chest as opposed to Christopher Reeves that is sown
or integrated into the blue. And another unique thing that
I've never seen on a live action costume with this
is the actual s on the belt.
Speaker 4 (14:26):
To the belt.
Speaker 5 (14:26):
Yeah, yeah, I mean the other thing that stands out
to me is I'm here next to at the moment
looking at it. They really went heavy for the textures,
so almost every piece is textured. Obviously, the shield itself
has got those tiny miniature shields in it, which probably
wouldn't have been achievable in the late seventies when they
were doing the Reef costumes, even if they wanted to.
You know, that's sort of to me a reflection of
the progression of time and the technology available to costume makers.
Speaker 4 (14:49):
And just sort of being able to get those things
in there.
Speaker 5 (14:52):
The fabric is screen printed or some kind of similar
process to put a texture on it. That's both the
top and tights and the briefs, and then even the
cake has got like a texture to it. You know,
it's kind of all tied together. The belt is not
The belt is the one piece that's smooth, and I
guess you could argue that the leather on the on
the boots are smooth. But most of the core components
here very heavily textured.
Speaker 3 (15:13):
Right, and the belt loops in this case are actually
a part of the yellow belt. They are not sewn
into the leotard.
Speaker 4 (15:23):
Right there, you go off.
Speaker 1 (15:26):
Yeah, Brandon, let me ask you from where you are,
because it's hard to tell on a camera like this
as we watch it, but you know that s looks
so dark maroon, and I'm assuming that's more of a
lighting thing.
Speaker 2 (15:37):
Is it that dark?
Speaker 3 (15:39):
Here?
Speaker 5 (15:40):
I can throw a light on it for you if
that makes it It is quite dark?
Speaker 4 (15:43):
Yeah, I mean it is dark.
Speaker 5 (15:45):
It also looks dirty down to me, you know, especially
the in the yellow color sort of the backing of
it or the gold color. You're seeing like a dark
wash that's been applied to Whether it's down, I don't
know if all the suits were like that or if
that's the specific stage of distressing at some point in
the film. But I'm very much reading that as I'm
shining the light on it here.
Speaker 3 (16:05):
All Right, that's darker than I've seen on others.
Speaker 2 (16:08):
Yeah, for sure, the belt looks.
Speaker 3 (16:10):
Pretty much consistent with others that I've seen.
Speaker 4 (16:14):
And yeah, I mean that darkness may relate to the
wash I'm talking about.
Speaker 5 (16:17):
I can't I can't see it specifically on the on
the marine color, but it may well be there. You
definitely see it on the gold color.
Speaker 1 (16:23):
When you look at a costume like this, obviously, you
know everything on film looks so much different, but Jim
in costumes from Superman returns much like the original films.
I'm assuming that things were were they marked as walking
or flying and things like that.
Speaker 3 (16:39):
Well, I haven't seen those terms used as much with
the Brandon costumes. In this case. There is a three
digit number associated with the parts. If I'm I think
I'm right on that Brandon as opposed.
Speaker 5 (16:53):
That sounds correct, and that's probably just related to the quantity.
I mean, it's essentially a count. And I think they
did make quite an un or these for production, so
and I know they did, you know, versions specifically for route,
They did versions for his stunt doubles, and just a
lot of pieces in total. The boots are another standout feature.
I'm sure you guys know you've seen them, but the
(17:14):
soles of the boots also have the s built.
Speaker 4 (17:17):
Down the shield, which is pretty neat. I like the costume.
Speaker 5 (17:21):
You know.
Speaker 4 (17:21):
The other thing that I'm noticing. I don't know whether
you can see it.
Speaker 5 (17:23):
On camera, but there there's a gradient to the inside
of the cape where it starts dark at the tottom
the top, and then it gets bright at the bottom.
So you see down there between the boots it's you know,
the xterior of the cape is quite dark, but the
interior of fabric lining becomes like a bright red at
that point.
Speaker 4 (17:42):
You can see that down there.
Speaker 3 (17:43):
The trunks don't look as brief as what I've seen
him wear in the movie. That it might just be
because they're pulled down on the mannequin, but they little
look a tad bigger, and I'm just wondering perhaps they
had different sized trunks for different scenes.
Speaker 4 (18:00):
I may relate to how high the belt sits up
as well.
Speaker 5 (18:02):
Okay, probably some level of adjustability with the belt. That's
all impact. How much of the briefs or the trunks
you're seeing would be My.
Speaker 3 (18:09):
Guess it's in great condition.
Speaker 4 (18:11):
Brandon, Yeah, overall.
Speaker 5 (18:13):
I mean, look, I don't think you have anything to
worry about with the core body suit elements. The cape
is slightly dry. You know, that's not terrible, but there
is some drying going on at the top back here.
I can feel it, and that's a frequent issue with
these types of superhero costumes. When the capes are latex,
you know, they can just dry out every time. The
most important thing is to get it into a good shape,
(18:33):
and if it's going to dry, let it dry in a.
Speaker 4 (18:35):
Nice shape where it looks good.
Speaker 5 (18:37):
You know where you run into problems is when things
dry and then people try to work them and bend them,
and you know, rubbers that aren't willing to bend anymore.
Speaker 1 (18:44):
How important is it for you guys at prop store
when you display costumes, especially for people to see, whether
it's in an interviewer for your catalog, how accurate do
you try to be with the actual mannequin?
Speaker 5 (18:55):
Well, we certainly have a fleet of mannequin's here it
prop Store's. There's a room there with about forty five
mannequins in it. You know, you can tell when you've
got something looking good and when you don't, and it
especially comes into play. You know, these costumes are relatively
unforgiving because obviously they're so tight a form fitting. This,
I believe is a custom mannequin that was made at
(19:15):
some point for a Superman costume. This is just a
stock mannequin, but it fits the suit quite well. Sometimes
I see the christpher Reeve mannequins that have been done
up almost overly bulky. I would say he's been hitting
the weight rooms a little more than maybe he actually did,
and I think, you know, there's a risk of going
too far with that. Other things that are tough are
(19:37):
like I'm looking around the room. There's a leonardiemoy Spot costume.
He's so thin that to get that on a mannequin
that fits right, it's tricky. I remember, you know, we've
had Darth Vader costumes in the past, you know, very
tall mannequin. If it's not tall enough and you put
that costume on it, it just doesn't look right. So
it's definitely a thing for us here at prop store,
and in some cases you do have to go out
and have mannequins made or modified to fit the costumes
(20:00):
well so that they present their best and obviously a
prop store, you know, we want these things to feel
like pieces of artwork.
Speaker 4 (20:05):
We believe they are pieces of artwork. It's fine art.
Speaker 5 (20:08):
It's something that people should be thrilled to bid on,
to buy, to own, to have on display in their home.
Speaker 4 (20:14):
Part of that is it's got to look good. It's
got to look good.
Speaker 2 (20:17):
You know.
Speaker 4 (20:17):
So that's where the custom annequins come in.
Speaker 3 (20:19):
Well, that particular mannequin for the Christopher Reeve I think
is perfect. It doesn't it doesn't overly stretch it. It
still displays beautifully. It's close to Chris Reeves build. And
in my humble opinion, if you're going to display that costume,
particularly a Chris Reeve on a mannequin long term, I
(20:39):
don't think you should go any bigger than that. I
think that's spot on right.
Speaker 5 (20:43):
I mean, you wouldn't want to stretch the fabric over time,
and I would agree with you, and thank you for
saying that. I think we actually tried it on a
different mannequin first that was a little smaller and you
could tell the suit was just hanging off it a little.
So the photo team here went back through the mannequin
inventory and they were able to locate this one.
Speaker 4 (20:58):
They put it on it and said, oh, yeah, that's
that's perfect. That's our look, that's what we went for.
Speaker 5 (21:02):
And in fact, so much so that I said, get
out a piece of tape at a marker, let's label that Superman,
so we know we have this manic and available for
any future costumes that might come in.
Speaker 2 (21:12):
That's beautiful, beautiful, Brandon.
Speaker 1 (21:14):
It's great having you on the Cape Wonder Superman podcast.
It's always great to have our friends from Propstore. We
always know we're getting quality, we always know beyond authentic
and great stories. And the auction is happening from the
twenty sixth through the twenty ninth, and you saw time
to get online and register, right, that's right.
Speaker 5 (21:34):
Yeah, all the details are at propstore dot com. You
do have to be registered in order to bid. If
you don't want to bid and you just want to
watch the auction, you want to watch the live stream
where the auctioneer is, you know, slamming the gavel and
calling the lots selling them live, just like in the movies.
You can do that on our website propstore dot com.
This particular costume is going to be sold on day
one of the auction. Days two and three have some
(21:54):
lower value material, and then day four is almost exclusively
autographs and a small section of a sports material as well.
So there's quite a lot of material. In total, it's
about seventeen hundred lots and would encourage everyone to take
a look at the auction catalog beautiful.
Speaker 3 (22:09):
Well, we're really grateful for you, Brandon and everyone at
prop Store. We've been thrilled to be able to share
what we know and we've learned so much from all
of you. So this is every time a Chris Reeve
or any Superman item comes up. Really, I'm fascinated with
everything in your catalogs. I'll sit for hours on the
couch and flip through those those thank beautiful catalogs, and
I've learned a lot because I'm just a big movie
(22:31):
fan in general, and so thank you. It's whatever your
team's doing, they've managed to find just consistently incredible items.
Speaker 4 (22:41):
So thank you, thank you for the kind words. Really
appreciate you saying that.
Speaker 1 (22:44):
And shout out to our friend Stephen Lane who's always
great and always emails me and says, oh yeah, we
we have things for you, and I'm always get excited
when we get those emails.
Speaker 4 (22:51):
We're always trying.
Speaker 5 (22:52):
We have to go through and check the Superman box. Unfortunately,
we had some nice pieces come in for this way.
Speaker 2 (22:58):
That's great, Brandon.
Speaker 1 (22:59):
Thank you so much for your ing us as always,
And if you want Morgan to propstore dot com check
out the auction I'm holding up for If you're listening,
you can't say, but if you're watching our podcast you can.
I'm holding up the this year's catalog which has that
awesome artifact there from a Jurassic Park, which is fantastic.
H Yeah, you have Saturday Night Fever, a lot of
great things, all right, Brandon, thank you so much.
Speaker 4 (23:19):
Thanks guys, talk to you soon.
Speaker 3 (23:21):
Have fun at the auction
Now the Cape Wonders Superman Podcast with Jay Cowers and Jim.
Speaker 2 (00:06):
Bowers on Iineheart Radio.
Speaker 1 (00:12):
Hello and welcome to another edition of the Cape wonder
Superman Podcast in Detroit. My name is Jay Towers out
in Las Vegas as our friend Jim Bowers, and welcome
to a special prop Store edition. Jim, one of our
favorite times of the year, several times of the year
with Prop Store.
Speaker 3 (00:26):
This time we've got not only Christopher Reeve goodies, but
we've got Brandon Routh too, So we've got the best
for all the fans that love these films. Really exciting,
beautiful stuff. You've got there, guys.
Speaker 1 (00:38):
The Prop Store Auction is happening from August twenty sixth
through the twenty ninth. This is the entertainment memor Billia
Live Auction, which is always so much fun to watch.
Plus there's plenty of things online to bid on. And
our friend Brandon Allinger is with us as always in
La Brandon.
Speaker 4 (00:54):
Hello to you, Hey, guys, thanks for having me on.
Speaker 5 (00:56):
I'm always excited when Superman pieces come through the door
because I know it means we will be talking.
Speaker 1 (01:00):
Yes always, and Jim and I were lucky enough to
be at prop Store. Was it a year ago, Jim,
A little over a year ago. What a fascinating place.
I mean it is for any fan of any genre.
I mean, you guys really have it all.
Speaker 4 (01:13):
Thank you.
Speaker 5 (01:13):
We tried to, yeah, I mean the fun part for
us is always seeing what's going to come through the door.
And we do two of these big Entertainment Member Billia
Live auctions per year out of Los Angeles.
Speaker 4 (01:23):
This is our second one of the year.
Speaker 5 (01:24):
We did one back in March, and I think we
did come up with a particularly great collection of items
this time. So we're really excited, obviously the auction's coming
up fast and excited to see how everything does next week.
Speaker 1 (01:35):
Jim, before we start, maybe you could just give us
just a little brief history on the Superman costumes. There
have been so many through all four of the Christopher
Reeve films, and all very unique for people that don't.
Speaker 3 (01:46):
Know absolutely and this particular auction, they're featuring a costume
that is a combination of Superman four, The Quest for Peace,
and Superman three. So this is really unique, really interesting.
I find it fast that they've found these pieces and
put together a beautiful, beautiful, complete costume. Prop stores had
(02:06):
many wonderful, beautiful Christopher Reeve costumes and costume pieces over
the years. What you often don't or you rarely see,
is really leggings by themselves, else by themselves. But you
do see capes, and you do see tunics, and in
this case, we've got it all. And that's what I
love about what you just never know what they're going
(02:29):
to have, And in this case, we've got a beautiful
Superman for costume, tunic and leggings and they both look
like they're about the same color match, and they will
look fantastic in your home or office if you are
the winning bitter. So in the past, there's been lots
of other costumes out there, but prop Store always seems
(02:51):
to have the best of the best available.
Speaker 5 (02:53):
The thing that stood out to me when we first
took this out of the box was just the beautiful
colors and how the colors just I mean, especially on
the tunic and the leggings. It's, you know, it is
those primary Superman colors that we all love so much.
We actually part of the reason it pops so much
for me, I think, is that not long ago, in
another auction, we had another Superman costume less complete than
(03:16):
this one, where the bodysuit was fairly heavily faded and
the colors just weren't very strong. So to see this,
I mean, this is so fresh. You know, this has
been kept out of the light. I know the suits
can be prone to fading when they're left in the
UV light, especially, this doesn't have any of that. There's
no separation at the boot line. You know, it's frequent
that if these have been on display with a pair
of boots, you would see a specific line there where
(03:38):
it's been protected from light versus exposed to light. This
has none of that. It's been so well cared for.
It's in such great shape. And you know, as you
said in the intro there we do have a mixture
of pieces. So the top and the leggings are from
Superman four. The belt and the cape are from three,
and they are the color variations from three, which of
course you guys know all about as he progresses into
(03:58):
Evil Superman. I believe Eve, the belt is a color
B and the cape is a color C. But at
least to my eye, my untrained super eye, when you
put it together and you look at it, nothing really
feels off. It's not like these colors don't work together.
It's not like they read as improper. I mean, even
the belt there, I think it's you know, it's such
a minor shade difference going from I guess A to
(04:20):
B that I just I think it works brilliantly.
Speaker 3 (04:24):
I would agree with you though. When it's all put together,
it's just absolutely fantastic. Now, the belt is a slight
shade darker as you said, and it and the cape
were probably worn around the time the scenes where we
see Superman blow out the Olympic torch when he lands
by the bridge and he's too late to save the
truck falling over, and then by the time we get
(04:46):
to the bar where he's drunk and he flies to
the junkyard, that's color E. So this is just a slight, right,
slight variation from the normal colors. Now, if I may,
the Superman four costumes i've noticed seemed to be a
little bit less prone to fading, and that, of course,
as we know, Brandon, that fabric and the weave of
(05:10):
the fabric on a four costume is different than the
weave and the fabric in one through three.
Speaker 2 (05:17):
It has a shine to it as well, Jim Right.
Speaker 3 (05:19):
Yeah, it has a shine, but the weave itself is different.
John Bloomfield, the costume designer for Superman four, chose a
different fabric still at Nathan's and Burman's, but he chose
a different fabric for whatever reason. Then the fabric used
in one through three and twenty nineteen. Our friend Martin Laken,
who lives in the UK, came to visit you guys,
(05:41):
and you happen to have a Superman the movie costume
on a on a mannequin, and you had a Superman
four costume on the mannequin, and that's where he was
really beautifully ill. Right, So I think part of the
reason why the fading is perhaps not as much of
an issue with four, and obviously this one was well
taken care of. I think one through three the fabric
(06:02):
probably started out more of a steely gray color and
then was dyed blue, which is why when they fade,
they tend to look kind of steely gray or steely
blue yea. And so that doesn't seem to be the
issue with four. So that's one advantage I think of
owning a Superman four costume. The colors seem to be
a little bit tougher, or maybe they can withstand UV
(06:25):
a little bit better.
Speaker 5 (06:26):
So this is just And do you think the colors
themselves are actually different shades?
Speaker 4 (06:30):
Like I do.
Speaker 5 (06:31):
You had a perfect condition three and four top next
to each other, would they read differently?
Speaker 3 (06:36):
They would. Yeah, here's another thing about one through three.
Just by nature of the fabric, the weave and the dyeing,
the blues tends to change a lot from shot to shot,
and and and in the variations of the way the
costume was lit. Four was lit more like TV. It
(06:56):
was a flatter lighting. To get to answer your question, yes,
you put them side by side. Typically the Superman four
costume is gonna be a little brighter and maybe a
little less teeal. Of course, when you're dealing with a
blue screen flying costume, it's going to be teal because
they have to create a separation. And as we know,
Superman four is exclusively blue screen flying, no front projection
(07:18):
like the others. So yes, you're gonna see a difference.
I think your eye would go to the four. Maybe
if you're really after a brighter costume, then typically a
four might be brighter to my eyes.
Speaker 4 (07:31):
It's very appealing.
Speaker 5 (07:32):
The bright color jumped out when I took out of
the box and looked at it.
Speaker 3 (07:37):
It is and I think that's why, even more reason
why in this case especially, it works really well with
the slightly darker cape. Looks great. Yeah, yeah, it really
really does.
Speaker 1 (07:47):
Oh, I was gonna I was gonna ask you just
talk about the screen matching of the screen matching of
the tunic, because you really you can find this and
that means something to fans and any collector. When you
can match up that s and that cost with a
scene or a frame in the film, it really is special, right.
Speaker 3 (08:03):
And I consulted with the caped Master team, who is
Martin Laken, Greg Vasseloff and Craig Suitor. I wanted to
do a shout out to these guys because they really
helped me with this this cape or this tunic I
call the American Flag Lunar Surface Battle tunic. What I
(08:24):
mean by that is when we see the close up
of Christopher Eve walk up to the American flag on
the Moon, straighten it, and then nuclear Man attacks him
from behind and knocks him down on the lunar surface,
bangs his head against the ground, and then picks him
up by the arms and pulls him back. That is
(08:44):
this tunic. So this tunic has a couple of stains
on it, as you know, Brandon, it's got a couple pulls.
And to me, that makes it even more appealing because
we know, without a shadow of a doubt this is
screen used.
Speaker 2 (08:57):
We know why, yeah, right, And.
Speaker 5 (08:59):
It is fascinating when you go and you start looking
at the essays and just the geometry and the organic
nature of the way the yellow comes together with the red,
and how you'll get a.
Speaker 4 (09:08):
Slightly harder curve here or a softer curve there. Really interesting.
Speaker 5 (09:12):
You know, when you start going through the film in
four K and looking at it frame by frame, how
you can see that variation in the s logo, specifically
from frame to frame a little harder to match the leggings.
I'm waiting for you guys to send me something on that. Jim,
I'm sure you're still working on it, and let us
find it please.
Speaker 3 (09:30):
I don't think we're going to be able to screen
match leggings, of course, I know, just joke, really just
less unless he was maybe there was an obvious scene
where maybe nuclear Man tore his costume open with his
nails or something. But this tunic. Another thing about Superman
four Tunic's is the bowl where the bottom curve typically
has a thinner It's typically thinner that bottom curve in four,
(09:56):
more so than some of the other films.
Speaker 4 (09:57):
Are you talking about right here.
Speaker 3 (09:58):
That's called a bowl, that's the bowl of the shield,
and that helps screen match tunics very much much.
Speaker 5 (10:07):
So.
Speaker 3 (10:07):
That's the first thing I look at when i'm when
I'm trying to say.
Speaker 4 (10:09):
You're saying, how thick is the red material?
Speaker 5 (10:11):
Right right?
Speaker 3 (10:12):
Right? Oh?
Speaker 2 (10:13):
Yeah there, Yeah, you don't notice it.
Speaker 1 (10:14):
You won't notice it until you really look at it,
and then if you start looking at pictures, you'll go, wow,
it's like looking at fingerprints.
Speaker 2 (10:20):
Yeah, they're all a little different.
Speaker 3 (10:21):
If you look at Evonne Blake's early costumes from Superman
the movie, that bowl, that thickness is super thick compared
to as they progress, they got thinner, not all all
the time, but this one that helped us screen match
this tunic.
Speaker 1 (10:37):
Let's talk about the clapperboard. That's we've got to get
into that next. And Jim knows some things about clapperboards
as well, follows them closely, able to identify many of them.
Speaker 2 (10:46):
But as we get to we can zoom in on
that a little bit.
Speaker 1 (10:49):
What fascinates me on these things, Jim and Brandon is
that when you have a date on there, that pretty
much is the last day it was used, right, Jim.
Speaker 3 (10:59):
Well, that was that would have in the last day
was used exactly. And in fact, I've been able to
nail down what they were filming with this clapperboard number one.
They were filming helicopter shots for the big Double Jeopardy
rescue that we all know about in the first film,
and they were filming the Clark Kent to Superman transformation
when he jumps out of the Daily Planet window.
Speaker 4 (11:21):
And so what do you make of what do you
make of the marked K here?
Speaker 3 (11:24):
I don't know for sure. Yeah, yeah, this is a
visual effects clapperboard. Dominic and Denny's Koop were you know,
involved in all the flying, much of the flying stuff,
So the k it might be an internal thing.
Speaker 5 (11:42):
I mean, I love the wear and tear that you
see on these and just you know this, the slate
markings at the top here are very clearly hand painted.
The lettering may be hand painted as well. Obviously it's
it's it looks like a decal. But I'm not sure
that it actually is. It may be painted on there,
maybe with some kind of stencil, but it's just you.
Speaker 4 (12:01):
Know, clapperboards are so great because obviously.
Speaker 5 (12:03):
You've got the film title right there. Everyone knows exactly
what they are. You know. It's kind of a if
you're if you're open to the idea of a behind
the scenes piece as opposed to an on camera piece.
Speaker 4 (12:12):
This is like a one and done.
Speaker 5 (12:13):
This is, you know, potentially all that you need from
a movie you love is the clapperboard on your shelf.
Speaker 2 (12:18):
Does the clapper still work?
Speaker 4 (12:20):
Oh? It collapsed? It clapsed?
Speaker 2 (12:22):
Look at that.
Speaker 3 (12:24):
One of the things I've always see.
Speaker 4 (12:25):
You can use that on the news.
Speaker 2 (12:27):
I will use that.
Speaker 3 (12:29):
One of the things you always see in a clapperboard
with from Superman is that the hinge is rusted.
Speaker 4 (12:35):
So I don't I don't know why shows you the age.
Speaker 3 (12:37):
Maybe it's sweat, maybe it's just from sitting in a
humid storage bin. I don't know.
Speaker 5 (12:43):
And the chalk slate style specifically is a British thing,
you know. Generally you would see the chalk slate style
coming out of the UK. In the US you would
see acrylic clappers, like white acrylic where they're using dry
erase markers and stuff. So you know, so many of
our favorite movies from the seventies and eighties.
Speaker 4 (12:58):
Of course we're made over there, so you'll see clappers
like this.
Speaker 5 (13:01):
From Superman, from the Star Wars movies, from Indiana Jones,
from all those great things done at that time.
Speaker 3 (13:06):
Yeah, and they made many versions of this too for Superman.
Speaker 5 (13:09):
Gotchas, the different sizes for different shots and depending on
how close they were.
Speaker 2 (13:13):
Yeah.
Speaker 1 (13:13):
By the way, this auction if you're a superhero fan,
a DC fan, Marble, whatever it is, there's plenty in
this auction. But the Brandon Routh Superman Returns costume. When
we learned Geese Jim, when was it two thousand and
three that there was going to be a Superman movie
that was connected to the Reeve films, The first thing
(13:34):
we all wondered was what is this costume going to
look like? And I think we all remember, I think
it was on the cover of USA Today at least
that was one of the publications that first showed this costume.
Speaker 2 (13:43):
And it was very different from what we were used.
Speaker 3 (13:45):
To, right, very different, I do.
Speaker 2 (13:48):
Know, different, well, just different different.
Speaker 3 (13:51):
There were many variations of this that Brian Singer had
to choose from yeah somewhere a brighter color, brighter red, etc.
And this is the one that he chose. It reminds
me really somewhat of a George Reeves costume with a
high collar and the smaller shield on his chest, which
is more of it's attached. It's a rubber shield on
(14:13):
his chest as opposed to Christopher Reeves that is sown
or integrated into the blue. And another unique thing that
I've never seen on a live action costume with this
is the actual s on the belt.
Speaker 4 (14:26):
To the belt.
Speaker 5 (14:26):
Yeah, yeah, I mean the other thing that stands out
to me is I'm here next to at the moment
looking at it. They really went heavy for the textures,
so almost every piece is textured. Obviously, the shield itself
has got those tiny miniature shields in it, which probably
wouldn't have been achievable in the late seventies when they
were doing the Reef costumes, even if they wanted to.
You know, that's sort of to me a reflection of
the progression of time and the technology available to costume makers.
Speaker 4 (14:49):
And just sort of being able to get those things
in there.
Speaker 5 (14:52):
The fabric is screen printed or some kind of similar
process to put a texture on it. That's both the
top and tights and the briefs, and then even the
cake has got like a texture to it. You know,
it's kind of all tied together. The belt is not
The belt is the one piece that's smooth, and I
guess you could argue that the leather on the on
the boots are smooth. But most of the core components
here very heavily textured.
Speaker 3 (15:13):
Right, and the belt loops in this case are actually
a part of the yellow belt. They are not sewn
into the leotard.
Speaker 4 (15:23):
Right there, you go off.
Speaker 1 (15:26):
Yeah, Brandon, let me ask you from where you are,
because it's hard to tell on a camera like this
as we watch it, but you know that s looks
so dark maroon, and I'm assuming that's more of a
lighting thing.
Speaker 2 (15:37):
Is it that dark?
Speaker 3 (15:39):
Here?
Speaker 5 (15:40):
I can throw a light on it for you if
that makes it It is quite dark?
Speaker 4 (15:43):
Yeah, I mean it is dark.
Speaker 5 (15:45):
It also looks dirty down to me, you know, especially
the in the yellow color sort of the backing of
it or the gold color. You're seeing like a dark
wash that's been applied to Whether it's down, I don't
know if all the suits were like that or if
that's the specific stage of distressing at some point in
the film. But I'm very much reading that as I'm
shining the light on it here.
Speaker 3 (16:05):
All Right, that's darker than I've seen on others.
Speaker 2 (16:08):
Yeah, for sure, the belt looks.
Speaker 3 (16:10):
Pretty much consistent with others that I've seen.
Speaker 4 (16:14):
And yeah, I mean that darkness may relate to the
wash I'm talking about.
Speaker 5 (16:17):
I can't I can't see it specifically on the on
the marine color, but it may well be there. You
definitely see it on the gold color.
Speaker 1 (16:23):
When you look at a costume like this, obviously, you
know everything on film looks so much different, but Jim
in costumes from Superman returns much like the original films.
I'm assuming that things were were they marked as walking
or flying and things like that.
Speaker 3 (16:39):
Well, I haven't seen those terms used as much with
the Brandon costumes. In this case. There is a three
digit number associated with the parts. If I'm I think
I'm right on that Brandon as opposed.
Speaker 5 (16:53):
That sounds correct, and that's probably just related to the quantity.
I mean, it's essentially a count. And I think they
did make quite an un or these for production, so
and I know they did, you know, versions specifically for route,
They did versions for his stunt doubles, and just a
lot of pieces in total. The boots are another standout feature.
I'm sure you guys know you've seen them, but the
(17:14):
soles of the boots also have the s built.
Speaker 4 (17:17):
Down the shield, which is pretty neat. I like the costume.
Speaker 5 (17:21):
You know.
Speaker 4 (17:21):
The other thing that I'm noticing. I don't know whether
you can see it.
Speaker 5 (17:23):
On camera, but there there's a gradient to the inside
of the cape where it starts dark at the tottom
the top, and then it gets bright at the bottom.
So you see down there between the boots it's you know,
the xterior of the cape is quite dark, but the
interior of fabric lining becomes like a bright red at
that point.
Speaker 4 (17:42):
You can see that down there.
Speaker 3 (17:43):
The trunks don't look as brief as what I've seen
him wear in the movie. That it might just be
because they're pulled down on the mannequin, but they little
look a tad bigger, and I'm just wondering perhaps they
had different sized trunks for different scenes.
Speaker 4 (18:00):
I may relate to how high the belt sits up
as well.
Speaker 5 (18:02):
Okay, probably some level of adjustability with the belt. That's
all impact. How much of the briefs or the trunks
you're seeing would be My.
Speaker 3 (18:09):
Guess it's in great condition.
Speaker 4 (18:11):
Brandon, Yeah, overall.
Speaker 5 (18:13):
I mean, look, I don't think you have anything to
worry about with the core body suit elements. The cape
is slightly dry. You know, that's not terrible, but there
is some drying going on at the top back here.
I can feel it, and that's a frequent issue with
these types of superhero costumes. When the capes are latex,
you know, they can just dry out every time. The
most important thing is to get it into a good shape,
(18:33):
and if it's going to dry, let it dry in a.
Speaker 4 (18:35):
Nice shape where it looks good.
Speaker 5 (18:37):
You know where you run into problems is when things
dry and then people try to work them and bend them,
and you know, rubbers that aren't willing to bend anymore.
Speaker 1 (18:44):
How important is it for you guys at prop store
when you display costumes, especially for people to see, whether
it's in an interviewer for your catalog, how accurate do
you try to be with the actual mannequin?
Speaker 5 (18:55):
Well, we certainly have a fleet of mannequin's here it
prop Store's. There's a room there with about forty five
mannequins in it. You know, you can tell when you've
got something looking good and when you don't, and it
especially comes into play. You know, these costumes are relatively
unforgiving because obviously they're so tight a form fitting. This,
I believe is a custom mannequin that was made at
(19:15):
some point for a Superman costume. This is just a
stock mannequin, but it fits the suit quite well. Sometimes
I see the christpher Reeve mannequins that have been done
up almost overly bulky. I would say he's been hitting
the weight rooms a little more than maybe he actually did,
and I think, you know, there's a risk of going
too far with that. Other things that are tough are
(19:37):
like I'm looking around the room. There's a leonardiemoy Spot costume.
He's so thin that to get that on a mannequin
that fits right, it's tricky. I remember, you know, we've
had Darth Vader costumes in the past, you know, very
tall mannequin. If it's not tall enough and you put
that costume on it, it just doesn't look right. So
it's definitely a thing for us here at prop store,
and in some cases you do have to go out
and have mannequins made or modified to fit the costumes
(20:00):
well so that they present their best and obviously a
prop store, you know, we want these things to feel
like pieces of artwork.
Speaker 4 (20:05):
We believe they are pieces of artwork. It's fine art.
Speaker 5 (20:08):
It's something that people should be thrilled to bid on,
to buy, to own, to have on display in their home.
Speaker 4 (20:14):
Part of that is it's got to look good. It's
got to look good.
Speaker 2 (20:17):
You know.
Speaker 4 (20:17):
So that's where the custom annequins come in.
Speaker 3 (20:19):
Well, that particular mannequin for the Christopher Reeve I think
is perfect. It doesn't it doesn't overly stretch it. It
still displays beautifully. It's close to Chris Reeves build. And
in my humble opinion, if you're going to display that costume,
particularly a Chris Reeve on a mannequin long term, I
(20:39):
don't think you should go any bigger than that. I
think that's spot on right.
Speaker 5 (20:43):
I mean, you wouldn't want to stretch the fabric over time,
and I would agree with you, and thank you for
saying that. I think we actually tried it on a
different mannequin first that was a little smaller and you
could tell the suit was just hanging off it a little.
So the photo team here went back through the mannequin
inventory and they were able to locate this one.
Speaker 4 (20:58):
They put it on it and said, oh, yeah, that's
that's perfect. That's our look, that's what we went for.
Speaker 5 (21:02):
And in fact, so much so that I said, get
out a piece of tape at a marker, let's label that Superman,
so we know we have this manic and available for
any future costumes that might come in.
Speaker 2 (21:12):
That's beautiful, beautiful, Brandon.
Speaker 1 (21:14):
It's great having you on the Cape Wonder Superman podcast.
It's always great to have our friends from Propstore. We
always know we're getting quality, we always know beyond authentic
and great stories. And the auction is happening from the
twenty sixth through the twenty ninth, and you saw time
to get online and register, right, that's right.
Speaker 5 (21:34):
Yeah, all the details are at propstore dot com. You
do have to be registered in order to bid. If
you don't want to bid and you just want to
watch the auction, you want to watch the live stream
where the auctioneer is, you know, slamming the gavel and
calling the lots selling them live, just like in the movies.
You can do that on our website propstore dot com.
This particular costume is going to be sold on day
one of the auction. Days two and three have some
(21:54):
lower value material, and then day four is almost exclusively
autographs and a small section of a sports material as well.
So there's quite a lot of material. In total, it's
about seventeen hundred lots and would encourage everyone to take
a look at the auction catalog beautiful.
Speaker 3 (22:09):
Well, we're really grateful for you, Brandon and everyone at
prop Store. We've been thrilled to be able to share
what we know and we've learned so much from all
of you. So this is every time a Chris Reeve
or any Superman item comes up. Really, I'm fascinated with
everything in your catalogs. I'll sit for hours on the
couch and flip through those those thank beautiful catalogs, and
I've learned a lot because I'm just a big movie
(22:31):
fan in general, and so thank you. It's whatever your
team's doing, they've managed to find just consistently incredible items.
Speaker 4 (22:41):
So thank you, thank you for the kind words. Really
appreciate you saying that.
Speaker 1 (22:44):
And shout out to our friend Stephen Lane who's always
great and always emails me and says, oh yeah, we
we have things for you, and I'm always get excited
when we get those emails.
Speaker 4 (22:51):
We're always trying.
Speaker 5 (22:52):
We have to go through and check the Superman box. Unfortunately,
we had some nice pieces come in for this way.
Speaker 2 (22:58):
That's great, Brandon.
Speaker 1 (22:59):
Thank you so much for your ing us as always,
And if you want Morgan to propstore dot com check
out the auction I'm holding up for If you're listening,
you can't say, but if you're watching our podcast you can.
I'm holding up the this year's catalog which has that
awesome artifact there from a Jurassic Park, which is fantastic.
H Yeah, you have Saturday Night Fever, a lot of
great things, all right, Brandon, thank you so much.
Speaker 4 (23:19):
Thanks guys, talk to you soon.
Speaker 3 (23:21):
Have fun at the auction
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