October 26, 2024 • 30 mins
Legendary Disney Imagineer Bob Gurr joins the Fork Reporter to discuss his 93rd birthday and life as a Disney legend! It's all on KFIAM-640!
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Speaker 1 (00:00):
Hey, it's Neil Savedra. You're listening to kfi EM six
forty The Fork Report on demand on the iHeartRadio app.
I'm your friendly neighborhood Fork Reporter Neil Savedra. How do
you do Halloween? The season is upon us. We even
got those Santa Anna's blowing in this past week. The
Boys in Blue are continuing to do beautiful things today
(00:24):
with there at Dodger Stadium, which is going to be great.
And you know what, I am in the mood for Halloween.
I just love it, and I thought I want to
do something different for our Halloween show this year. I've
always said that the Fork Report separates the heaviness of
the news, gives us a sanctuary to come and enjoy
and talk about food, beverage, and beyond. Well today, although
(00:46):
food will be discussed, we're going to focus on the
beyond part, which is interesting people that I think you
should know if you don't already, And we're going to
start with a biggie. I want to introduce you to
Bob Gerr. He's the world's only living original Disney imagineer
and I got to tell you at ninety three, he
(01:07):
just celebrated his ninety third birthday yesterday. He's got a
full head of hair, and that kind of angers me.
But he had a hand in greeting over one hundred
magical thing part of Art Attraction's worldwide worldwide rather, including
the constructing America's first monorarel, the Autopia Matta Horn, and
(01:28):
of course the Haunted Mansion's Doom Buggy. A true visionary
in the world of animatronics, something no one knew about
at the time, and his hands were part of developing
the first realistic humanoid animatronic. Mister Lincoln featured in great
moments with mister Lincoln. He's been recognized for all of
(01:50):
his work. He received the prestigious Disney Legend Award in
two thousand and four. He's got his hand prints here
in Burbank, immortalized in the Court of Legend at Walt
Disney Studios proudly holds the distinction. And this is pretty
cool of having a window on Main Street, USA. Both
Disneyland and the Magic Kingdom just celebrated, as I said,
(02:12):
his ninety third birthday yesterday. Ladies and gentlemen, mister Bob Gerr,
welcome to the Fork Report, sir.
Speaker 2 (02:18):
Oh my, well, this is gonna be fun, isn't it.
Speaker 1 (02:21):
You are such a firecracker. Everybody I told and mentioned
you were going to be on the show today was giddy.
You just have a wonderful way about you. What keeps
you so young, sir?
Speaker 2 (02:33):
I think it's basically, most people think of themselves internally
and all they see is negatives. If you get used to,
your thoughts are going out into the world where there's
so much interesting stuff. Curiosity is a key thing. Walking
They had curiosity, and I have an automagic I get
you in a lot of trouble if you want to
see stuff that you're not supposed to see, want to
(02:55):
dig into stuff behind the scenes, but that means you're
used to I'll always looking outside yourself and you'll find
positive stuff. You'll find the fun stuff that leads to
even more exploration over time.
Speaker 1 (03:10):
I love it, and that curiosity was that was that
the spark. If we go to the beginning, what made
you want to design? What got you into designing? Pre Disney,
pre all of that.
Speaker 2 (03:24):
It was quite easy. When I was about four or
five years old, I was greatly enamored with cars and airplanes.
Remember that's like nineteen thirty three thirty four thirty five
in that period of time, and I had a white
closet wall, and I had some crayolas, and I would draw,
like a little comic strips of airplanes chasing each other
(03:44):
and doing things. Or I'd draw pictures of crazy vehicles.
And my mother saw that, so they immediately made sure
I had paper.
Speaker 1 (03:51):
After that, one get some paper, please, right.
Speaker 2 (03:56):
And then my father would give me toys at Christmas.
I'd take him apart. I won't go back together, but curiosity,
I want to know how they're put together, what's behind
the design. Well, the next Christmas he gives me a
tinker toy set. How many people remember tinker toy It's
a little shirt that o't meal box full of sticks
in the hubs. I could do things my way. And
(04:18):
then the following year and a rector set, big metal
box full of pots. Oh yeah, all this stuff, and
now I was launched automatic at doing I want to do.
I make my own toys out of parts. And then
I think by the time I got into the second grade,
I would draw stuff. I would make up my own cars,
(04:39):
my own trucks, a pencil and paper. While we're supposed
to be learning how to write, and it was just
it was the same. After that, that's all I did was, oh,
I like to do stuff that doesn't exist. Did not
realizing I'm on my way to be a designer. But
I just did what I like to do.
Speaker 1 (04:58):
Is it the engineering that find sexy or the aesthetic?
Speaker 2 (05:02):
What us both? Number One, I am not an engineer.
I never went to engineering school. I've always seen things
from the exterior part, the emotional shape of something. I
don't just say. In the case of the Mono Rail
Disney and Mono Rail, Walt Disney asked me to start
get going on our monorail. He walked out of the room,
(05:24):
never told me what he wanted. I had a white
piece of paper and a pencil. I could visualize what
a thing like that should look like, because I you know,
I saw the comics and Buck Rogers all that sort
of stuff. But you draw the outside, so it's gonna
be what you want. But you gotta immediately dive in
and figure out all the parts you're gonna need, how
(05:47):
you're gonna build it. But guess what all that curiosity
I had collected all this car and truck and airplane stuff,
engineering stuff through an erector set and I saw monorail as.
Do you know how many car parts you can buy,
truck parts you can buy modify them like a hot rod,
(06:07):
you know, we hot rod ers short. And in a
matter of a few weeks, they come up on all
the running gear, how we're gonna drive it, where the gears,
the wheels and tires are gonna go, with the motors,
all the electrical equipment, how it's gonna be, how the
inside's gonna look, and how all that. I can make
drawings of it that we can talk about. Here's how
we're gonna build it, you know. And then we had
(06:28):
a company start to build it and they were running
too small.
Speaker 1 (06:32):
So it starts with the aesthetic. Then, yes, you say,
does it surprise you that I'm a pass holder along
with my family, my wife, my seven year old boy.
We go to Disneyland all the time. I'm still in
awe of it now and it still has that space
age futuristic feel. Are you surprised that you're designed many
many years ago still looks futuristic in space age now?
Speaker 2 (06:54):
Not really from the standpoint. Let's put it in. Sometimes
a vehicle of product, furniture or whatever is overstyled. It's
doodled to death, like with committee production. There's all that
kind of stuff. The mono rail had an advantage because
it's a geometrically simple shape. It's symmetrical. It has a shape,
(07:15):
and then it tapers down to a front. It's got
curved sides. It's got these little fins that come wrong
the side. All that was to hide the fact that
a mono rail looks like a loaf of bread setting
on a stick room. It's not very not very attractive.
And that's why Walt said he wants me to get
going on ours. Okay, that slot is still there in
(07:36):
that first monorail, but I camouflage it with your eyes
seeing something else. The body has a little rap to it,
and it kicks out a little bit. A little fin's
gonna come down from the front, and then it's got
this pointy you look and a little bubble canopy. Doctor
Zar calls up in there. You know it's from as
from a B forty seven bomber. After all these things
(07:59):
fall into place if they're geometrically pure. A lot of
designers can do geometric pure stuff. I remember, because it's
a pure thing and it's geometric. It lasts forever, it
has no time, and that's the clue to making things
look good forever.
Speaker 3 (08:19):
You're listening to the Fork Report with Nil Savedra on
demand from KFI AM six.
Speaker 1 (08:24):
Forty esteemed guest. I can't tell you how thrilled I
am to be talking to Bob Gerr. He is one
of the original Disney imagineers, meaning that his hands, his ideas,
his thoughts is curiosity and expertise and problem solving is
all over the parks. And we'll get into that in
(08:44):
a moment. I wanted to give a shout out to
dead air dot Co. Dead Air dot Co. My buddy
Clay Row owns it and it is an internet radio
station that plays nothing but the coolest in the best
Halloween music year round, and I asked him. I reached
out to him and I said, hey, how can you
(09:06):
curate the music for today's special? And he said absolutely
So all the music is provided by Clay Row, who's
a big fan of my guests today and he was thrilled.
And I want you to not only check it out,
but it's completely run by donations, So throw him a
corder or whatever. And he has these really cool things
that he gives to people that donate. They're pressed pennies
(09:28):
with his logo on them. And I actually did the
I designed the artwork on the panels of his penny press.
So ask him to see that if you get a
chance again. That is Deadair dot co dot com dot
co and check it out there. Back to mister Bob
Gerr creating over a hundred magical theme park attraction. And
(09:53):
you've said before, Bob that if it moves, you probably
had your hands on it there at disney Land. So
a couple of lists of the projects that you worked
on at Disneyland.
Speaker 2 (10:07):
A Topia, main street vehicles, the yellow and the Red,
Omnibus one, Omnibus two, keep on walking down the street,
the track for the matter Horn, the submarine.
Speaker 1 (10:21):
You built the track for the matter Horn.
Speaker 2 (10:23):
Now I designed the course line for it. That's why
it's so rough.
Speaker 1 (10:26):
I was gonna say, my chiropractor loves you. I've passed
four kidney stones on that thing.
Speaker 2 (10:33):
No, the way, what would give a job out? Different
people asked to do different things, and he said, well,
we're gonna build this matter horn. And they had a
model about three feet tall that looked like a melted
ice cream, and Walt says, we got the model and
we're gonna put a track in there. So, oh, by
the way, Bobby put two tracks in there.
Speaker 1 (10:52):
Was that the first time that a coaster had had
two tracks running simultaneously.
Speaker 2 (10:58):
Yeah, and then closed inside an enclosure. But normally roller
coasters are made of wood. They're out in the breeze.
The right operator can push and pull brake handles and
keep them all separated visually. No, this was going to
be hidden inside a mountain, which meant we had to
have an electronic control system for it. But the worst
part was I hate roller coasters. I rode one once
(11:22):
and didn't want to go back. And to design a track,
it's very simple in a way. You say you got
a horizontal line, it's called neutral slope. If you put
the vehicle on it standings still, it won't move. If
it's going twenty miles an hour, it'll keep moving. That's
a neutral slope. You can have the cart track go
up come back down, but can't go back above that line,
(11:42):
so it's always going up and going down and down
and down. You have to mathematically design this thing. I
did with a pencil and a paper and a compass,
no computer.
Speaker 1 (11:53):
Were you good at math?
Speaker 2 (11:54):
No? You good at math? No? Because in the seventh grade, no,
tenth grade, I got f and geometry one and I
got a pass because the teacher said, he's no good,
You're never going to understand it. By nineteen fifty eight. Well,
it gives me this calculations that make these two tracks.
I needed trigonometry. I had a little booklet about it,
(12:18):
free catalog. I taught myself trig in fifteen minutes because
of you know it's a triangle.
Speaker 1 (12:24):
And holy spell.
Speaker 2 (12:26):
Yeah, you can understand math if you're going to use
it right away. Otherwise why would just study math? So
the need, yeah, the need will drive your education. Okay.
So in a matter of probably less than a month,
I was drawing a track a day because we had
to have the tracks fill out inside the building but
(12:48):
not run into each other and still have room for
the steel to hold the building up. So every day
I kept rearranging the steel because I get attracted almost fits,
but not quite well. One night I did get all
the way outside the steel. I could tell the people
with the foundations, go ahead and for your foundations, and
they said, yeah, don't change it. The transit makes trucks
(13:12):
are on their way. They changed the forms every night
based upon my latest design. That's how fast Walt would
compress a job. Okay, that track is faulty from the standpoint.
You're supposed to design the way the car moves from
from about the middle of your heart, called the heart line.
Stupid me, I use the top of the track. That
(13:34):
means when you ride the matter horner and starts to
make a turn, it slams you into the turn. It does.
Speaker 1 (13:39):
Never noticed, Bob, never noticed.
Speaker 2 (13:42):
Oh well, if you ever feel some pain, that's why.
Speaker 1 (13:46):
Really, So that's our center point, and that's kind of
how we pivot around a track and you desie to
you know, foot and change lower than that.
Speaker 2 (13:55):
Well, it was a simple thing because you're got to
lay out two around steel pipes, you know, a bar
across that. You've got a place to measure.
Speaker 1 (14:04):
Almost simple. I'll think of that every time I curse
your name writing that that beloved ride hang tight will
have more with Bob Gerr. He is an original Disney imagineer,
and I got to tell you he is an original
period It just so happens. We've been lucky enough to
enjoy all of his curiosity and creations through the magic
(14:27):
of Disney and beyond. We'll get into some more of that,
of course our Halloween show on The Fork Report today
we're dealing with the beyond after food, beverage and beyond.
As I want you to meet some interesting people, we'll
ask him some food, his favorite places to eat and
s touch such coming up as well. So go nowhere.
Speaker 3 (14:46):
You're listening to The Fork Report with Nil Sevedra on
demand from KFI AM six forty.
Speaker 1 (14:54):
The Fork Report. Thrilled to be here. We've got a
great lineup today. I always say this show is about food, beverage,
and beyond. Today we're focusing on the beyond, going outside
of the food, although we will be talking about that
as well to kind of focus on some interesting people
that hover around Halloween. My guess right now is Bob Gerr,
original Disney imagineer. But as we were talking during the
(15:17):
break as well, about nineteen eighty one, you retired from
Disney and hung up your own shingle and ended up
starting your own business. And you've worked on other theme
parks in the like, including one of my favorites which
is no longer with us, the original King Kong at
Universal Studios the Mecan the large, bigger than life mechanical version,
(15:40):
and it went out in a fire. And what did
you tell me.
Speaker 2 (15:43):
Oh, it's much better to be a burned up and
a fire in New York City than have the junkyard
come and take it away. When you changed change it track.
Speaker 1 (15:52):
What an attitude? Yes, and I like the new one
now with all the digital effects and everything, it's great,
But there was something, there's something that's so tangible and tactile,
and just like the early sci fi films. You know,
you referenced buck Rogers and maybe the low end special effects,
(16:13):
maybe of a sparkler in the rear end of a rocket,
you know, but you think about Star Wars and the
models and how that feels so real. There is something
about the banana breath of your kin Kong that was
magical At Universal.
Speaker 2 (16:29):
Yes, I think you're completely right in that respect. We
have real, fur real stuff right in front of you.
And the worst part was the tram would drive on
a bridge. The gorilla grabbed the bridge and shake it
and tip the bridge of the and the tram car
would slide three feet sideways, almost into the mouth of
the gorilla, and it's all real, practical things, not simulated things.
(16:53):
I think those elements still will grab anybody in any
kind of an attraction, especially hearted ghost stuff, that kind
of stuff that is tactile in front of you rather
than projections.
Speaker 1 (17:07):
Yeah, you know what's interesting. I just finished last weekend.
I had the honor of designing and working with a
cool team of people a haunted experience at my son's
elementary school. And we did use projection, and someone was
with things floating like a candelabra, and I thought, as
(17:27):
cool as it looked, it still didn't have the impact
of the floating candelabra in the actual haunted mansion. That
is practical and having to do that when you tackled like,
for instance, you are the designer of the doom Buggy,
the patent, you know, you got your name on it,
all of those things. Was it originally going to be
(17:48):
a walk through ride? What was it that made them
need a disney needing or Disneyland rather needing a carriage
that was separate or different than anything else.
Speaker 2 (18:00):
Well, for years, everybody working on a haunted mansioned ideas.
They had a string of gags that were working on
every kind of deal. You know, Yero, Graysie and Roy
Cropp had all these ideas. But two years before that
the Voyage to Innerspace attraction for a Monsanto company, I
designed this machine called I called it Omnimover. It's an
(18:22):
endless chain of vehicles. Differences most well, you've got a track,
you put a vehicle on it, and whatever the track does,
the vehicle does. But what if you put a moving
seat that can turn right and left, up and down.
This means you can direct the guest view into the
scene far better as you're traversing a series of scenes.
(18:44):
While working on that for a test track, a hundred
mansion people came by and they took a look and
they said, Bengo, there's our answer. So they redesigned the
whole thing that they were designing into a track with
a ride through continuous ride through, which at some point
(19:04):
in time, because dune buggies were very poppish in southern
California and somebody says, oh doom Buggy, and they got
this name. We never figured out who did it, but
it was it was a great moniker.
Speaker 1 (19:17):
Added to that, well, if you've never figured out who
who did it? Just tell everybody you did.
Speaker 2 (19:24):
Well, that would be that would be this honest, I'd
rather say I designed the machine and they can put
any name they want on it.
Speaker 1 (19:32):
It really is an extraordinary experience to have the seats
you're in guide you towards the things you're supposed to
be looking at and experiencing. You know, goosenecking, No, you know,
I don't need to do anything but sit back and enjoy.
Speaker 2 (19:51):
You notice that the car kind of enscapers you, Oh, sure,
and that was because the void innerspace. We're gonna reduce
ourselves and down and we're gonna go meet them nucleus
and an atom. So this is cozy, cozy, cozy. So
I made this shell like car. So we got a
speaker in each corner, and the narration was very subtle
(20:11):
and very quiet because we're shrinking. And of course it
applies to the elements in a haunted mansion. You write
that again, now that you know the backup why of that.
You see something, but you'll know more about it because
you're being sort of spookily told about it.
Speaker 1 (20:30):
Yeah, there is something that is for a ride that
is shoveling humans throughout, very intimate. It's almost like you
being in a theater and the crowd gets whisked away
because you're into what's going on on screen. I feel
like I'm experiencing it with my wife and my boy
(20:51):
and not every single person because I don't, with rare exception,
don't really see them or interact with them.
Speaker 2 (20:56):
That's right, because if you look at a lot of attractions,
the vehicle is usually quite spectacular style. You know a
lot of space stuff that misses the point of you
don't want to see the vehicle you're riding in. Why
do you think it's dark? Dull asphalt color like death.
You're not aware of that vehicle once you start going
(21:19):
around the corner and you see everything you see, especially
you're twisting around in the car kind that is kind
of bumpy and goofy, like you're separated out of that car,
so you can concentrate on the show.
Speaker 1 (21:31):
One quick question. We have another segment coming up, and
I appreciate you staying. One quick question. You and I
talked just a few segments ago about design of the
matter Horn and how it's timeless. You've seen a lot
of things in your ninety three years. The one of
the newest vehicles on the road. Right now is Elon
(21:54):
Musk's cyber truck. Now you were talking about geometry. You're
not going to get more geometric unless it's the blade
of an axe than that truck. What are your thoughts
as a designer on the esthetic.
Speaker 2 (22:10):
Well, twelve years ago I met Elon Musk down at
the design center and an authorn. People argue about that thing.
But I stopped people. I say, just a minute, what
you see in a cyber track is one man's vision.
Stop comparing it with anything. Look at the one man's vision.
(22:31):
He wanted something a certain way. Look at it from
that standpoint. Only now you got a good picture of it.
But back up a little bit and come back say
it's a truck. Does it do what trucks do well?
Maybe yes, maybe not. But what I'm finding out it
sells very well, and people paint them different colors. Sure,
(22:53):
you have a vehicle that is driven for what it is,
not for what it might have intended to be used for.
Think of that, it's a truck, but nobody cares anything.
You drive around at night in West Hollywood and show
off stuff. You paint different colors and put hang blue
lights underneath the running boards. It's a statement. Car Musk
(23:15):
made a statement the people that the great grab it
and says I'm going to make a statement in my
gang with that.
Speaker 1 (23:22):
Car Wow. We'll be back with more of the inspiring
and incomparable Bob Gurr, Original Disney Imagineer and Beyond.
Speaker 3 (23:35):
You're listening to the Fork Report with Nil Sevadra on
demand from KFI Am six forty.
Speaker 1 (23:43):
Talking with Bob Gerr, Original Disney Imagineer and Beyond. I mean, really,
that is a tiny little box, a little window from
the fifties on into eighty one when you retired from
uh doing that and moved on put your own shingle
out and on to do your own things. I want
to remind people that you are non stop, sir. You
(24:07):
can follow Bob on Instagram at Bob Gerr Official Bober Official.
You're gonna get fun Disney Park trivia, all kinds of
fun facts, Disney history. They'll be giving away five bobger
autograph prints and five new random to five new random
followers today, so make sure that you follow him today
at Bob Gerr gu r our Official and they'll be
(24:31):
announcing the winners tomorrow morning, so make sure you get
on that Disneyland, Big Big Retro slide show and tribute
to Bob Gerrs hosted by Charles Phoenix. You know we
love Charles Phoenix on this program. It's happening at the
Bowers Museum in Santa Ana Saturday, November ninth at seven pm.
You can also get the Bob ger Funko Pop it
(24:51):
was released earlier this summer, and he autographs them, and
you can find out more fandom Productions dot com. Fandomproductions
dot Com. There's a couple other things going on that
I'll mention later in the program. It's important to stay
active at ninety three, is it absolutely so? You say
you get up at five forty five or what have you?
(25:13):
You read the physical print still like the ink stains
on your finger of the La Times.
Speaker 2 (25:18):
No, I read the digital version. Oh so you yeah?
I did that?
Speaker 1 (25:24):
No way up there there we go.
Speaker 2 (25:25):
Okay. I follow several industries, aviation, automotive, industry worldwide. I
enjoy the critical politics going on and the important parts
of the world a little on the frightening side, but
my big interest is how did civilization start? I probably
read seven or eight books about different countries and the
(25:46):
origins of Civilization. Put it this way, If Civilizations was
a movie, you want to start the movie when it
opened on forty two thousand years ago. Now today, when
you watch a progression day after day and it puzzles people,
I don't understand any of this. You can understand it
if you had gone to the movie early, which you
could do. You're reading a book. That way, you are
(26:10):
not puzzled by what you see and hear in the
progression of the whole world as a large group of humans.
Speaker 1 (26:18):
Okay. In aviation, if you're off a degree and it's
a long flight, you're not going to land anywhere near
you were supposed to. So, as a student of history,
looking back, where are some areas that you think that
we're missing the mark? And therefore that one degree off
as you look back to where we are now, we
(26:40):
need to get back and focus on.
Speaker 2 (26:42):
Okay the ram McNally hissed the map of history. It's
like eight feet tall on maybe a butt and a
half wide. In short form, it shows the comings and
goings of every civilization. Everybody comes and goes, accept possibly
Chinese and Mongolians. They go more than four thousand years unerupted.
You know whoa we're two hundred and forty six years here.
(27:04):
We're going to work at work and at getting it right.
So you don't worry about something's gonna happen, because all
this progression flows all the time. What you want to
do is look back at those change points, like why
did the Romans grow so fast and they pooped out
so fast?
Speaker 1 (27:21):
Let in the water?
Speaker 2 (27:22):
Yeah, yeah, yeah, let's know what. No, this's things like
the Greeks. The Greeks organize themselves into almost democratic like
and then they wound up killing each other, on and
on and on. You look at Great Britain early eighteen hundreds,
that was the Empire of the Earth. They reached out
and colonized independent little country and said were the British Empire. Oh,
(27:46):
by the way, whatever happened to them, it wasn't pretty
long ago. And so we're growing, China's growing. India is
gonna be really big.
Speaker 1 (27:54):
They're all gonna be They're already pretty damn big.
Speaker 2 (27:57):
No, Well, look at how many cars are made in
China compared to the US. How many electric cars are
made in China, and they're much more advanced and quite affordable.
Speaker 1 (28:06):
Of what's needed for that that for evs. We're still
struggling even here in the States. What is needed is
in a new battery, a different type of battery.
Speaker 2 (28:16):
No, there's new battery technology. I follow battery technology intensely.
It's moving so fast. There are so many different kinds
of chemis screens, and we're getting very very close to
having something. You can buy a car, say probably thirty
four thousand dollars, and it's gonna have a range of
maybe about three hundred and fifty miles and the whole
thing will charge in ten minutes.
Speaker 1 (28:38):
Wow, that's where we need to be.
Speaker 2 (28:40):
Yes, and the Chinese have a solid state type of
battery that's down to about eight minutes to charge four
hundred miles, but the charge is a very high, high amperage.
Speaker 1 (28:51):
It is ridiculous to think we were going to cram
anything into one hour.
Speaker 3 (28:55):
Sir.
Speaker 1 (28:56):
I hope that you will come back on so we
can talk again. Of course, you can find out more
fandomproductions dot com. You've got Bob Gerr's waste a walt
Land rather bus tour. All the twenty twenty four dates
are sold out. However, tickets for the twenty twenty five
dates go on sale November fifteenth. You've got the Bob
Gerr Show, which is wonderful. He interviews just a mix
(29:18):
of guests from his studio in Orange County. New episodes
available monthly on YouTube, and Bob Gerr feature length documentary,
which I can't wait for, is going to be released
soon for screenings. Two years in the making. Public screenings
will go on in local theaters, probably in the winter
of twenty twenty five. We're going to keep you posting
on that and we're going to have you back, sir.
(29:41):
What a pleasure, A real lot. Is that a tattoo
on your chest?
Speaker 2 (29:45):
That's the mark one Mono rail. Oh my gosh, you
have then around tattooed on your chest and it goes
faster if I do.
Speaker 1 (29:55):
It.
Speaker 2 (29:56):
Just peeked out.
Speaker 1 (29:59):
Mo. You have the Monoram tattooed on your chats. Wow, Okay,
I'm pretty much done. Yeah man, the Danny Trejo of Disney.
I love it. Excellent, All right, stick around, So much
more to come on today's program, So go nowhere, mister
(30:19):
Bob Gerr. What a pleasure. Thank you so much for
coming on. This is KFI heard everywhere on the iHeart
radio app. You've been listening to the Fork Report. You
can always hear us live on KFI AM six forty
two to five pm on Saturday, and anytime on demand
on the iHeartRadio app.
Hey, it's Neil Savedra. You're listening to kfi EM six
forty The Fork Report on demand on the iHeartRadio app.
I'm your friendly neighborhood Fork Reporter Neil Savedra. How do
you do Halloween? The season is upon us. We even
got those Santa Anna's blowing in this past week. The
Boys in Blue are continuing to do beautiful things today
(00:24):
with there at Dodger Stadium, which is going to be great.
And you know what, I am in the mood for Halloween.
I just love it, and I thought I want to
do something different for our Halloween show this year. I've
always said that the Fork Report separates the heaviness of
the news, gives us a sanctuary to come and enjoy
and talk about food, beverage, and beyond. Well today, although
(00:46):
food will be discussed, we're going to focus on the
beyond part, which is interesting people that I think you
should know if you don't already, And we're going to
start with a biggie. I want to introduce you to
Bob Gerr. He's the world's only living original Disney imagineer
and I got to tell you at ninety three, he
(01:07):
just celebrated his ninety third birthday yesterday. He's got a
full head of hair, and that kind of angers me.
But he had a hand in greeting over one hundred
magical thing part of Art Attraction's worldwide worldwide rather, including
the constructing America's first monorarel, the Autopia Matta Horn, and
(01:28):
of course the Haunted Mansion's Doom Buggy. A true visionary
in the world of animatronics, something no one knew about
at the time, and his hands were part of developing
the first realistic humanoid animatronic. Mister Lincoln featured in great
moments with mister Lincoln. He's been recognized for all of
(01:50):
his work. He received the prestigious Disney Legend Award in
two thousand and four. He's got his hand prints here
in Burbank, immortalized in the Court of Legend at Walt
Disney Studios proudly holds the distinction. And this is pretty
cool of having a window on Main Street, USA. Both
Disneyland and the Magic Kingdom just celebrated, as I said,
(02:12):
his ninety third birthday yesterday. Ladies and gentlemen, mister Bob Gerr,
welcome to the Fork Report, sir.
Speaker 2 (02:18):
Oh my, well, this is gonna be fun, isn't it.
Speaker 1 (02:21):
You are such a firecracker. Everybody I told and mentioned
you were going to be on the show today was giddy.
You just have a wonderful way about you. What keeps
you so young, sir?
Speaker 2 (02:33):
I think it's basically, most people think of themselves internally
and all they see is negatives. If you get used to,
your thoughts are going out into the world where there's
so much interesting stuff. Curiosity is a key thing. Walking
They had curiosity, and I have an automagic I get
you in a lot of trouble if you want to
see stuff that you're not supposed to see, want to
(02:55):
dig into stuff behind the scenes, but that means you're
used to I'll always looking outside yourself and you'll find
positive stuff. You'll find the fun stuff that leads to
even more exploration over time.
Speaker 1 (03:10):
I love it, and that curiosity was that was that
the spark. If we go to the beginning, what made
you want to design? What got you into designing? Pre Disney,
pre all of that.
Speaker 2 (03:24):
It was quite easy. When I was about four or
five years old, I was greatly enamored with cars and airplanes.
Remember that's like nineteen thirty three thirty four thirty five
in that period of time, and I had a white
closet wall, and I had some crayolas, and I would draw,
like a little comic strips of airplanes chasing each other
(03:44):
and doing things. Or I'd draw pictures of crazy vehicles.
And my mother saw that, so they immediately made sure
I had paper.
Speaker 1 (03:51):
After that, one get some paper, please, right.
Speaker 2 (03:56):
And then my father would give me toys at Christmas.
I'd take him apart. I won't go back together, but curiosity,
I want to know how they're put together, what's behind
the design. Well, the next Christmas he gives me a
tinker toy set. How many people remember tinker toy It's
a little shirt that o't meal box full of sticks
in the hubs. I could do things my way. And
(04:18):
then the following year and a rector set, big metal
box full of pots. Oh yeah, all this stuff, and
now I was launched automatic at doing I want to do.
I make my own toys out of parts. And then
I think by the time I got into the second grade,
I would draw stuff. I would make up my own cars,
(04:39):
my own trucks, a pencil and paper. While we're supposed
to be learning how to write, and it was just
it was the same. After that, that's all I did was, oh,
I like to do stuff that doesn't exist. Did not
realizing I'm on my way to be a designer. But
I just did what I like to do.
Speaker 1 (04:58):
Is it the engineering that find sexy or the aesthetic?
Speaker 2 (05:02):
What us both? Number One, I am not an engineer.
I never went to engineering school. I've always seen things
from the exterior part, the emotional shape of something. I
don't just say. In the case of the Mono Rail
Disney and Mono Rail, Walt Disney asked me to start
get going on our monorail. He walked out of the room,
(05:24):
never told me what he wanted. I had a white
piece of paper and a pencil. I could visualize what
a thing like that should look like, because I you know,
I saw the comics and Buck Rogers all that sort
of stuff. But you draw the outside, so it's gonna
be what you want. But you gotta immediately dive in
and figure out all the parts you're gonna need, how
(05:47):
you're gonna build it. But guess what all that curiosity
I had collected all this car and truck and airplane stuff,
engineering stuff through an erector set and I saw monorail as.
Do you know how many car parts you can buy,
truck parts you can buy modify them like a hot rod,
(06:07):
you know, we hot rod ers short. And in a
matter of a few weeks, they come up on all
the running gear, how we're gonna drive it, where the gears,
the wheels and tires are gonna go, with the motors,
all the electrical equipment, how it's gonna be, how the
inside's gonna look, and how all that. I can make
drawings of it that we can talk about. Here's how
we're gonna build it, you know. And then we had
(06:28):
a company start to build it and they were running
too small.
Speaker 1 (06:32):
So it starts with the aesthetic. Then, yes, you say,
does it surprise you that I'm a pass holder along
with my family, my wife, my seven year old boy.
We go to Disneyland all the time. I'm still in
awe of it now and it still has that space
age futuristic feel. Are you surprised that you're designed many
many years ago still looks futuristic in space age now?
Speaker 2 (06:54):
Not really from the standpoint. Let's put it in. Sometimes
a vehicle of product, furniture or whatever is overstyled. It's
doodled to death, like with committee production. There's all that
kind of stuff. The mono rail had an advantage because
it's a geometrically simple shape. It's symmetrical. It has a shape,
(07:15):
and then it tapers down to a front. It's got
curved sides. It's got these little fins that come wrong
the side. All that was to hide the fact that
a mono rail looks like a loaf of bread setting
on a stick room. It's not very not very attractive.
And that's why Walt said he wants me to get
going on ours. Okay, that slot is still there in
(07:36):
that first monorail, but I camouflage it with your eyes
seeing something else. The body has a little rap to it,
and it kicks out a little bit. A little fin's
gonna come down from the front, and then it's got
this pointy you look and a little bubble canopy. Doctor
Zar calls up in there. You know it's from as
from a B forty seven bomber. After all these things
(07:59):
fall into place if they're geometrically pure. A lot of
designers can do geometric pure stuff. I remember, because it's
a pure thing and it's geometric. It lasts forever, it
has no time, and that's the clue to making things
look good forever.
Speaker 3 (08:19):
You're listening to the Fork Report with Nil Savedra on
demand from KFI AM six.
Speaker 1 (08:24):
Forty esteemed guest. I can't tell you how thrilled I
am to be talking to Bob Gerr. He is one
of the original Disney imagineers, meaning that his hands, his ideas,
his thoughts is curiosity and expertise and problem solving is
all over the parks. And we'll get into that in
(08:44):
a moment. I wanted to give a shout out to
dead air dot Co. Dead Air dot Co. My buddy
Clay Row owns it and it is an internet radio
station that plays nothing but the coolest in the best
Halloween music year round, and I asked him. I reached
out to him and I said, hey, how can you
(09:06):
curate the music for today's special? And he said absolutely
So all the music is provided by Clay Row, who's
a big fan of my guests today and he was thrilled.
And I want you to not only check it out,
but it's completely run by donations, So throw him a
corder or whatever. And he has these really cool things
that he gives to people that donate. They're pressed pennies
(09:28):
with his logo on them. And I actually did the
I designed the artwork on the panels of his penny press.
So ask him to see that if you get a
chance again. That is Deadair dot co dot com dot
co and check it out there. Back to mister Bob
Gerr creating over a hundred magical theme park attraction. And
(09:53):
you've said before, Bob that if it moves, you probably
had your hands on it there at disney Land. So
a couple of lists of the projects that you worked
on at Disneyland.
Speaker 2 (10:07):
A Topia, main street vehicles, the yellow and the Red,
Omnibus one, Omnibus two, keep on walking down the street,
the track for the matter Horn, the submarine.
Speaker 1 (10:21):
You built the track for the matter Horn.
Speaker 2 (10:23):
Now I designed the course line for it. That's why
it's so rough.
Speaker 1 (10:26):
I was gonna say, my chiropractor loves you. I've passed
four kidney stones on that thing.
Speaker 2 (10:33):
No, the way, what would give a job out? Different
people asked to do different things, and he said, well,
we're gonna build this matter horn. And they had a
model about three feet tall that looked like a melted
ice cream, and Walt says, we got the model and
we're gonna put a track in there. So, oh, by
the way, Bobby put two tracks in there.
Speaker 1 (10:52):
Was that the first time that a coaster had had
two tracks running simultaneously.
Speaker 2 (10:58):
Yeah, and then closed inside an enclosure. But normally roller
coasters are made of wood. They're out in the breeze.
The right operator can push and pull brake handles and
keep them all separated visually. No, this was going to
be hidden inside a mountain, which meant we had to
have an electronic control system for it. But the worst
part was I hate roller coasters. I rode one once
(11:22):
and didn't want to go back. And to design a track,
it's very simple in a way. You say you got
a horizontal line, it's called neutral slope. If you put
the vehicle on it standings still, it won't move. If
it's going twenty miles an hour, it'll keep moving. That's
a neutral slope. You can have the cart track go
up come back down, but can't go back above that line,
(11:42):
so it's always going up and going down and down
and down. You have to mathematically design this thing. I
did with a pencil and a paper and a compass,
no computer.
Speaker 1 (11:53):
Were you good at math?
Speaker 2 (11:54):
No? You good at math? No? Because in the seventh grade, no,
tenth grade, I got f and geometry one and I
got a pass because the teacher said, he's no good,
You're never going to understand it. By nineteen fifty eight. Well,
it gives me this calculations that make these two tracks.
I needed trigonometry. I had a little booklet about it,
(12:18):
free catalog. I taught myself trig in fifteen minutes because
of you know it's a triangle.
Speaker 1 (12:24):
And holy spell.
Speaker 2 (12:26):
Yeah, you can understand math if you're going to use
it right away. Otherwise why would just study math? So
the need, yeah, the need will drive your education. Okay.
So in a matter of probably less than a month,
I was drawing a track a day because we had
to have the tracks fill out inside the building but
(12:48):
not run into each other and still have room for
the steel to hold the building up. So every day
I kept rearranging the steel because I get attracted almost fits,
but not quite well. One night I did get all
the way outside the steel. I could tell the people
with the foundations, go ahead and for your foundations, and
they said, yeah, don't change it. The transit makes trucks
(13:12):
are on their way. They changed the forms every night
based upon my latest design. That's how fast Walt would
compress a job. Okay, that track is faulty from the standpoint.
You're supposed to design the way the car moves from
from about the middle of your heart, called the heart line.
Stupid me, I use the top of the track. That
(13:34):
means when you ride the matter horner and starts to
make a turn, it slams you into the turn. It does.
Speaker 1 (13:39):
Never noticed, Bob, never noticed.
Speaker 2 (13:42):
Oh well, if you ever feel some pain, that's why.
Speaker 1 (13:46):
Really, So that's our center point, and that's kind of
how we pivot around a track and you desie to
you know, foot and change lower than that.
Speaker 2 (13:55):
Well, it was a simple thing because you're got to
lay out two around steel pipes, you know, a bar
across that. You've got a place to measure.
Speaker 1 (14:04):
Almost simple. I'll think of that every time I curse
your name writing that that beloved ride hang tight will
have more with Bob Gerr. He is an original Disney imagineer,
and I got to tell you he is an original
period It just so happens. We've been lucky enough to
enjoy all of his curiosity and creations through the magic
(14:27):
of Disney and beyond. We'll get into some more of that,
of course our Halloween show on The Fork Report today
we're dealing with the beyond after food, beverage and beyond.
As I want you to meet some interesting people, we'll
ask him some food, his favorite places to eat and
s touch such coming up as well. So go nowhere.
Speaker 3 (14:46):
You're listening to The Fork Report with Nil Sevedra on
demand from KFI AM six forty.
Speaker 1 (14:54):
The Fork Report. Thrilled to be here. We've got a
great lineup today. I always say this show is about food, beverage,
and beyond. Today we're focusing on the beyond, going outside
of the food, although we will be talking about that
as well to kind of focus on some interesting people
that hover around Halloween. My guess right now is Bob Gerr,
original Disney imagineer. But as we were talking during the
(15:17):
break as well, about nineteen eighty one, you retired from
Disney and hung up your own shingle and ended up
starting your own business. And you've worked on other theme
parks in the like, including one of my favorites which
is no longer with us, the original King Kong at
Universal Studios the Mecan the large, bigger than life mechanical version,
(15:40):
and it went out in a fire. And what did
you tell me.
Speaker 2 (15:43):
Oh, it's much better to be a burned up and
a fire in New York City than have the junkyard
come and take it away. When you changed change it track.
Speaker 1 (15:52):
What an attitude? Yes, and I like the new one
now with all the digital effects and everything, it's great,
But there was something, there's something that's so tangible and tactile,
and just like the early sci fi films. You know,
you referenced buck Rogers and maybe the low end special effects,
(16:13):
maybe of a sparkler in the rear end of a rocket,
you know, but you think about Star Wars and the
models and how that feels so real. There is something
about the banana breath of your kin Kong that was
magical At Universal.
Speaker 2 (16:29):
Yes, I think you're completely right in that respect. We
have real, fur real stuff right in front of you.
And the worst part was the tram would drive on
a bridge. The gorilla grabbed the bridge and shake it
and tip the bridge of the and the tram car
would slide three feet sideways, almost into the mouth of
the gorilla, and it's all real, practical things, not simulated things.
(16:53):
I think those elements still will grab anybody in any
kind of an attraction, especially hearted ghost stuff, that kind
of stuff that is tactile in front of you rather
than projections.
Speaker 1 (17:07):
Yeah, you know what's interesting. I just finished last weekend.
I had the honor of designing and working with a
cool team of people a haunted experience at my son's
elementary school. And we did use projection, and someone was
with things floating like a candelabra, and I thought, as
(17:27):
cool as it looked, it still didn't have the impact
of the floating candelabra in the actual haunted mansion. That
is practical and having to do that when you tackled like,
for instance, you are the designer of the doom Buggy,
the patent, you know, you got your name on it,
all of those things. Was it originally going to be
(17:48):
a walk through ride? What was it that made them
need a disney needing or Disneyland rather needing a carriage
that was separate or different than anything else.
Speaker 2 (18:00):
Well, for years, everybody working on a haunted mansioned ideas.
They had a string of gags that were working on
every kind of deal. You know, Yero, Graysie and Roy
Cropp had all these ideas. But two years before that
the Voyage to Innerspace attraction for a Monsanto company, I
designed this machine called I called it Omnimover. It's an
(18:22):
endless chain of vehicles. Differences most well, you've got a track,
you put a vehicle on it, and whatever the track does,
the vehicle does. But what if you put a moving
seat that can turn right and left, up and down.
This means you can direct the guest view into the
scene far better as you're traversing a series of scenes.
(18:44):
While working on that for a test track, a hundred
mansion people came by and they took a look and
they said, Bengo, there's our answer. So they redesigned the
whole thing that they were designing into a track with
a ride through continuous ride through, which at some point
(19:04):
in time, because dune buggies were very poppish in southern
California and somebody says, oh doom Buggy, and they got
this name. We never figured out who did it, but
it was it was a great moniker.
Speaker 1 (19:17):
Added to that, well, if you've never figured out who
who did it? Just tell everybody you did.
Speaker 2 (19:24):
Well, that would be that would be this honest, I'd
rather say I designed the machine and they can put
any name they want on it.
Speaker 1 (19:32):
It really is an extraordinary experience to have the seats
you're in guide you towards the things you're supposed to
be looking at and experiencing. You know, goosenecking, No, you know,
I don't need to do anything but sit back and enjoy.
Speaker 2 (19:51):
You notice that the car kind of enscapers you, Oh, sure,
and that was because the void innerspace. We're gonna reduce
ourselves and down and we're gonna go meet them nucleus
and an atom. So this is cozy, cozy, cozy. So
I made this shell like car. So we got a
speaker in each corner, and the narration was very subtle
(20:11):
and very quiet because we're shrinking. And of course it
applies to the elements in a haunted mansion. You write
that again, now that you know the backup why of that.
You see something, but you'll know more about it because
you're being sort of spookily told about it.
Speaker 1 (20:30):
Yeah, there is something that is for a ride that
is shoveling humans throughout, very intimate. It's almost like you
being in a theater and the crowd gets whisked away
because you're into what's going on on screen. I feel
like I'm experiencing it with my wife and my boy
(20:51):
and not every single person because I don't, with rare exception,
don't really see them or interact with them.
Speaker 2 (20:56):
That's right, because if you look at a lot of attractions,
the vehicle is usually quite spectacular style. You know a
lot of space stuff that misses the point of you
don't want to see the vehicle you're riding in. Why
do you think it's dark? Dull asphalt color like death.
You're not aware of that vehicle once you start going
(21:19):
around the corner and you see everything you see, especially
you're twisting around in the car kind that is kind
of bumpy and goofy, like you're separated out of that car,
so you can concentrate on the show.
Speaker 1 (21:31):
One quick question. We have another segment coming up, and
I appreciate you staying. One quick question. You and I
talked just a few segments ago about design of the
matter Horn and how it's timeless. You've seen a lot
of things in your ninety three years. The one of
the newest vehicles on the road. Right now is Elon
(21:54):
Musk's cyber truck. Now you were talking about geometry. You're
not going to get more geometric unless it's the blade
of an axe than that truck. What are your thoughts
as a designer on the esthetic.
Speaker 2 (22:10):
Well, twelve years ago I met Elon Musk down at
the design center and an authorn. People argue about that thing.
But I stopped people. I say, just a minute, what
you see in a cyber track is one man's vision.
Stop comparing it with anything. Look at the one man's vision.
(22:31):
He wanted something a certain way. Look at it from
that standpoint. Only now you got a good picture of it.
But back up a little bit and come back say
it's a truck. Does it do what trucks do well?
Maybe yes, maybe not. But what I'm finding out it
sells very well, and people paint them different colors. Sure,
(22:53):
you have a vehicle that is driven for what it is,
not for what it might have intended to be used for.
Think of that, it's a truck, but nobody cares anything.
You drive around at night in West Hollywood and show
off stuff. You paint different colors and put hang blue
lights underneath the running boards. It's a statement. Car Musk
(23:15):
made a statement the people that the great grab it
and says I'm going to make a statement in my
gang with that.
Speaker 1 (23:22):
Car Wow. We'll be back with more of the inspiring
and incomparable Bob Gurr, Original Disney Imagineer and Beyond.
Speaker 3 (23:35):
You're listening to the Fork Report with Nil Sevadra on
demand from KFI Am six forty.
Speaker 1 (23:43):
Talking with Bob Gerr, Original Disney Imagineer and Beyond. I mean, really,
that is a tiny little box, a little window from
the fifties on into eighty one when you retired from
uh doing that and moved on put your own shingle
out and on to do your own things. I want
to remind people that you are non stop, sir. You
(24:07):
can follow Bob on Instagram at Bob Gerr Official Bober Official.
You're gonna get fun Disney Park trivia, all kinds of
fun facts, Disney history. They'll be giving away five bobger
autograph prints and five new random to five new random
followers today, so make sure that you follow him today
at Bob Gerr gu r our Official and they'll be
(24:31):
announcing the winners tomorrow morning, so make sure you get
on that Disneyland, Big Big Retro slide show and tribute
to Bob Gerrs hosted by Charles Phoenix. You know we
love Charles Phoenix on this program. It's happening at the
Bowers Museum in Santa Ana Saturday, November ninth at seven pm.
You can also get the Bob ger Funko Pop it
(24:51):
was released earlier this summer, and he autographs them, and
you can find out more fandom Productions dot com. Fandomproductions
dot Com. There's a couple other things going on that
I'll mention later in the program. It's important to stay
active at ninety three, is it absolutely so? You say
you get up at five forty five or what have you?
(25:13):
You read the physical print still like the ink stains
on your finger of the La Times.
Speaker 2 (25:18):
No, I read the digital version. Oh so you yeah?
I did that?
Speaker 1 (25:24):
No way up there there we go.
Speaker 2 (25:25):
Okay. I follow several industries, aviation, automotive, industry worldwide. I
enjoy the critical politics going on and the important parts
of the world a little on the frightening side, but
my big interest is how did civilization start? I probably
read seven or eight books about different countries and the
(25:46):
origins of Civilization. Put it this way, If Civilizations was
a movie, you want to start the movie when it
opened on forty two thousand years ago. Now today, when
you watch a progression day after day and it puzzles people,
I don't understand any of this. You can understand it
if you had gone to the movie early, which you
could do. You're reading a book. That way, you are
(26:10):
not puzzled by what you see and hear in the
progression of the whole world as a large group of humans.
Speaker 1 (26:18):
Okay. In aviation, if you're off a degree and it's
a long flight, you're not going to land anywhere near
you were supposed to. So, as a student of history,
looking back, where are some areas that you think that
we're missing the mark? And therefore that one degree off
as you look back to where we are now, we
(26:40):
need to get back and focus on.
Speaker 2 (26:42):
Okay the ram McNally hissed the map of history. It's
like eight feet tall on maybe a butt and a
half wide. In short form, it shows the comings and
goings of every civilization. Everybody comes and goes, accept possibly
Chinese and Mongolians. They go more than four thousand years unerupted.
You know whoa we're two hundred and forty six years here.
(27:04):
We're going to work at work and at getting it right.
So you don't worry about something's gonna happen, because all
this progression flows all the time. What you want to
do is look back at those change points, like why
did the Romans grow so fast and they pooped out
so fast?
Speaker 1 (27:21):
Let in the water?
Speaker 2 (27:22):
Yeah, yeah, yeah, let's know what. No, this's things like
the Greeks. The Greeks organize themselves into almost democratic like
and then they wound up killing each other, on and
on and on. You look at Great Britain early eighteen hundreds,
that was the Empire of the Earth. They reached out
and colonized independent little country and said were the British Empire. Oh,
(27:46):
by the way, whatever happened to them, it wasn't pretty
long ago. And so we're growing, China's growing. India is
gonna be really big.
Speaker 1 (27:54):
They're all gonna be They're already pretty damn big.
Speaker 2 (27:57):
No, Well, look at how many cars are made in
China compared to the US. How many electric cars are
made in China, and they're much more advanced and quite affordable.
Speaker 1 (28:06):
Of what's needed for that that for evs. We're still
struggling even here in the States. What is needed is
in a new battery, a different type of battery.
Speaker 2 (28:16):
No, there's new battery technology. I follow battery technology intensely.
It's moving so fast. There are so many different kinds
of chemis screens, and we're getting very very close to
having something. You can buy a car, say probably thirty
four thousand dollars, and it's gonna have a range of
maybe about three hundred and fifty miles and the whole
thing will charge in ten minutes.
Speaker 1 (28:38):
Wow, that's where we need to be.
Speaker 2 (28:40):
Yes, and the Chinese have a solid state type of
battery that's down to about eight minutes to charge four
hundred miles, but the charge is a very high, high amperage.
Speaker 1 (28:51):
It is ridiculous to think we were going to cram
anything into one hour.
Speaker 3 (28:55):
Sir.
Speaker 1 (28:56):
I hope that you will come back on so we
can talk again. Of course, you can find out more
fandomproductions dot com. You've got Bob Gerr's waste a walt
Land rather bus tour. All the twenty twenty four dates
are sold out. However, tickets for the twenty twenty five
dates go on sale November fifteenth. You've got the Bob
Gerr Show, which is wonderful. He interviews just a mix
(29:18):
of guests from his studio in Orange County. New episodes
available monthly on YouTube, and Bob Gerr feature length documentary,
which I can't wait for, is going to be released
soon for screenings. Two years in the making. Public screenings
will go on in local theaters, probably in the winter
of twenty twenty five. We're going to keep you posting
on that and we're going to have you back, sir.
(29:41):
What a pleasure, A real lot. Is that a tattoo
on your chest?
Speaker 2 (29:45):
That's the mark one Mono rail. Oh my gosh, you
have then around tattooed on your chest and it goes
faster if I do.
Speaker 1 (29:55):
It.
Speaker 2 (29:56):
Just peeked out.
Speaker 1 (29:59):
Mo. You have the Monoram tattooed on your chats. Wow, Okay,
I'm pretty much done. Yeah man, the Danny Trejo of Disney.
I love it. Excellent, All right, stick around, So much
more to come on today's program, So go nowhere, mister
(30:19):
Bob Gerr. What a pleasure. Thank you so much for
coming on. This is KFI heard everywhere on the iHeart
radio app. You've been listening to the Fork Report. You
can always hear us live on KFI AM six forty
two to five pm on Saturday, and anytime on demand
on the iHeartRadio app.
The Fork Report w Neil Saavedra News
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