Dane Hallett Interview | Concept Artist Talks Metal Music Influence on Alien & Film Design - Metalology

Episode Transcript
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Speaker 1 (00:00):
What a fucking great question, by the way, great questions.

Speaker 2 (00:02):
Man.

Speaker 1 (00:03):
It has been such a fun This is great.

Speaker 3 (00:06):
What is up everybody?

Speaker 4 (00:07):
We have a very special treat for you today we
will be talking with Hollywood's most metal concept designer, Dane Hallett.

Speaker 5 (00:16):
Here on, I'm.

Speaker 3 (00:48):
Gonna start one more time. Let's gonna start one time, all.

Speaker 4 (00:54):
Right, guys, So today we sat down with, in my opinion,
Hollywood's most metal concept designer, somebody who's flying the flag
for metal and metal centric visuals in the industry, in
the film industry specifically, Dane how absolutely slay this episode.

Speaker 3 (01:09):
We had a blast.

Speaker 4 (01:10):
We just got done recording it, and you guys are
certainly in for a treat one more time. I just
want to introduce us as host because we kind of
jump into the episode with Dane. I'm your host, Anthony
spot So to the right of me is my co host.

Speaker 6 (01:21):
Yeah, what's up, guys, it's Metal Hondra in the house.

Speaker 3 (01:25):
What if guys, it's Rudy and that's your boy. Dane
was awesome.

Speaker 6 (01:29):
Yeah, truly like motivational, Like I think I didn't I
didn't expect to be like motivated and kind of you
know the way that he's approached things, and you know,
I don't want to give too much away of how,
you know, a certain question about how he started. But
but yeah, man, like it's just taking names and shit,
you know what I mean, like not really stopping and

(01:51):
just like going for it. And uh again it's hard,
Like I don't want to talk about it, but you
guys are in for a treat. That was like, that's
what I came off of it, and was just being
motivated and I feel like, damn that the inspirational as
far as just fucking go for it, you know what
I mean, Like, who gives a fuck? Put your foot

(02:12):
in the door however you can, you know, don't be nervous,
you know, don't be shy, you know, just fucking do it, man,
because that opens doors.

Speaker 3 (02:22):
Yeah, that's what I got from it.

Speaker 2 (02:24):
You know.

Speaker 4 (02:24):
One really cool thing that you guys are going to
notice with this episode, not only do we talk about
his story, which is also an awesome story about how
he got into the film industry in itself and his
experience is working on big budget Hollywood blockbusters. One thing
that I was very surprised about and already knew he was.
He was a metal guy beforehand when I'd reached out
to him to do this interview, but while we were
doing the interview, I realized this guy is very knowledgeable

(02:47):
about metal, and not only that, but he's a big
from what I understand, mid two thousands of metal like Them,
of God, Devil, travers On and so forth, and references
a lot of those bands, along with Ministry and nine
and Schneil's Like. It was just a blast having this
on the episode, and I'm so proud of this episode.
This has to be like in the pantheon of the
meta ology lore.

Speaker 3 (03:06):
Definitely top really fun. Top five, yeah, top five for us.

Speaker 4 (03:11):
So just to read a bit to get you guys
known about Dane Hallet and his work. Today's guest is
a visual architect of nightmares and a master of cinematic
world building. Concept designer. Dane Hallett with a career that
spans some of the heaviest, grittiest films in modern cinema,
like Alien, Covenant, Magematic, Scury Road, and more. Dane's work
blends a surreal, the savage and the beautiful legal test.

(03:31):
His designs are equal parts chaos and control, often channeling
the same raw energy you'd find in a crushing metal
riff or an industrial noise assault. Today we're diving into
his career, his process and how heavy music, metal, industrial
and beyond feels the dark visual realms he brings to life.
Strap in, Crank the Gain and welcome Dane Hallett to
the show.

Speaker 3 (03:49):
What is of Guys?

Speaker 4 (03:51):
We have the visionary extraordinaire Dane Hallett sitting with us
right now.

Speaker 3 (03:56):
Dane, how is it going?

Speaker 2 (03:57):
Bro? Hey guys, thanks for having It's gone good too,
I guess in the afternoon here in Australia two.

Speaker 3 (04:06):
Twenty over here it's nine to twenty.

Speaker 4 (04:08):
We were just talking just a few minutes ago that
Andre here just got back from a comic con.

Speaker 6 (04:13):
Yeah, and you were saying in twenty eighteen you went
there to like sign like a book signing. How was
that experience?

Speaker 2 (04:20):
Man? Like? Yeah, Oh that was cool man. Yeah, that
was when you know, the work that I did on
alth in Covenant, we compaled it into a book and
released it as David Storings and it sold out. This
so it was a weird. You know, it was a
cool feeling because there was like a you know, a
line of people waiting for me to violate that with
me and the other artist Manhattan that worked on that

(04:40):
film as well, just sitting there signing stuff and yeah,
that was awesome, man, it was great.

Speaker 4 (04:46):
Yeah, dude, I came across your Instagram efforts. It just
showed up like on my kind of explore feed, and
I was like, who is this? And I just I
remember just clicking on it and just falling in love
with the artwork. And then it took like a like
a couple of days before I realized, oh, snapped, this
dude actually with these This dude worked on these movies.

Speaker 3 (05:02):
This is awesome.

Speaker 4 (05:03):
This is amazing. We're big Predator alien fans, big horror fans,
science fiction fans. This is a metal podcast, but you know,
we talked about movies every now and then. But what
kind of drew me to have you on this episode
is some of the posts that you shared includes like
metal songs, like you know, anything from like Night Snails
and stuff like that.

Speaker 3 (05:22):
I was like, dude, this dude's the metal had This
is awesome man, absolute.

Speaker 4 (05:27):
So, just to kind of start off from the top,
how did you get involved in the film industry. I
know you said the story and a couple other interviews before.

Speaker 2 (05:33):
But it's, yeah, the.

Speaker 3 (05:34):
Really interesting story.

Speaker 4 (05:34):
I think our listeners would love to know because it's
a pretty cool story.

Speaker 1 (05:38):
Yeah cool man.

Speaker 2 (05:38):
Well, I appreciate that you're already aware of some of
the stories I'm told. That's cool, man, I I do.
I tell this story in every every podcast, so every
every time I share at art schools and stuff. But
I was I guess, you know, I was on on
the best of terms with my parents, you know, for
a long time growing up. And I lived in the

(06:00):
in the garage at the back of the house, and
then one day they moved away and I ended up
moving into my friend's other garages. It's like a car
garage but decked out where someone could live in it.
And I was pretty depressed, and I felt pretty I
don't know, it's pretty dejected. But ever since I was
a kid, I was as far back as I could
remember watching The Seventh Voyger Sinbad and Jason and the Argonauts,

(06:21):
I knew I wanted to make my movies or work
on films or make films, and I'd always wanted to
do that, and so I, you know, I just sort
of put it out of the universe because there's no
practical steps you can take. And I live in like well,
I grew up in like a shitty part of Sydney, Australia,
which is as far as you can get from Hollywood,

(06:43):
like there is no you know, Alien is my favorite film,
and I always wanted to, you know, work on an
alien film. But now you know, I've done a couple,
which is pretty cool. But the distance between there and here,
like this part of my life where where I'm now
a part of that world was a fucking hellish cavern

(07:03):
man like unprecedented. And what happened was I was I
was depressed, I had no money, had nothing to eat,
and I took a job in a call center. And
in that call center, I didn't know how to type.
I didn't own a computer when I was growing up,
so I had no idea how to type. But I
needed to type cause this is for This was for
the when you travel on those toll roads and you've

(07:24):
got a little device in the cut that beeps when
you travel on and and it clicks on so it
charges you money. And I told myself I would just
stay there for two weeks to make enough money to
buy food to then just leave because I fucking hate like.

Speaker 1 (07:36):
I hated talking on the phone.

Speaker 2 (07:38):
I couldn't type, like I was just like a fucking
like like moronically, just like pressing buttons with one finger
at a time. And I just gave myself like a
personal goal, like, Okay, while I'm here, I'm just going
to learn how to type. And then I changed from
two weeks, so I'm just gonna last as long as
I can.

Speaker 1 (07:55):
And I lasted nine months until on the last.

Speaker 2 (07:58):
Day of that nine month, I made up a lie.
I walked in and I just couldn't handle it anymore.
I was just like, fuck, I've got to get out
of here. So I told the people there that I
got a dream job in Hollywood. Made it up. This
is but this is true. This is absolutely true. This
is exactly what happened. And I said, look, today's day, guys,
I quit, you know. And so I took this super

(08:19):
relaxed attitude to the last day. I wasn't taking calls,
and I fucking never hit my I never hit my goals,
like at my professional goals or whatever they set for you,
because I hated it so much. But what I did
do was I used to draw all the time, so
everyone knew that, oh fuck man, this guy's this guy
can draw, he's got a measure of ability, like maybe
he'll go somewhere one day. And uh. And it just

(08:41):
so happened that one of the last calls I took
on that last day that I lied about getting a
job was someone working on on one of the first
Marvel movies that a really shitty Wolverine movie, the first
one origins. And so that's all right, yeah and uh,
and so I took that call. It was like and
it wasn't even my department, like it could deferred to me.

(09:02):
But because I was very personable, I could sort of
talk my way around anything. So they just look, can
you just talk to this guy who's been waiting for
a long time. So I talked to him and he goes,
because I'm so and so from such and such films,
And I said, oh, cool man, And I just log
into like silent mode where it's not being recorded because
it's illegal to like illicit information for your own personal gain,
you know. So I sign out and I just go, hey, man,

(09:22):
what do you mean by such and such films? You know,
I don't remember the name. And the guy goes, I'm
just working on a production here, you know, and we
need to sort out some of these tags for the vehicles.
And I go, hmmm, I go, look, I'm trained in
special effects. Is anyone I could speak to? And of
course I wasn't trained in special effects. I did it.
I did it like an art school course, but I
of course didn't succeed because I don't do well in institutions.

(09:44):
And then I ended up. The guy gave me two
fun numbs. He gave me the coordinator's number, a production
coordinator's number, and the special effects number. And I just
walked out into the courtyard and I called that special
effects number and I just said, hey, is there any
wor going on this film? And the guy goes, nah,
it's packed out, and I go, okay, I go, can

(10:05):
I take you out to lunch and just ask you
about what it takes to be involved in the industry?
And the guy goes, ah, look, just fax me your
CV and we'll see how you go. And so I did.
I put a CV together, just like the fact that
I'm a good artist and whatever. And then two weeks
later I was working on that film and that was
my first little intro into their world. And then from there.

(10:25):
Of course, as an alien fan, I've worked with essentially
all of my favorite directors except for probably David Fincher,
which even then I was really close to working with him.
But yeah, so yeah, that's how I got into the industry.
And once I got in, don't get me wrong, man,
Like I'm it's not easy, but I do have a
ferocious attitude. So as soon as I got my little
fucking creak in the door, I just ripped the door

(10:48):
off its hinges and fuck I we'ld go in early,
i'd stay back late, i'd do extra shit, I'd make
my own stuff in spare hours, and anyone who looked
at me saw like, oh fuck this guy real he
wants to be here, and uh and I paid off. Man.

Speaker 3 (11:03):
So yeah, definitely definitely a.

Speaker 2 (11:06):
Story.

Speaker 4 (11:07):
Yeah, because I've listened to I do my homework, right,
I do my homework, and I've listened to a couple
of stories. I'm like, oh, dude, this is this is
such a wetting We got to bring that up, man.
But yeah, so it's like I said, we're a metal podcast,
so we're gonna kind of go a little bit back
and forth between film and and music and kind of
have the phone with it. Try to change it up
a little because I know you do like more film
ori aented podcasts. I'm like, dude, I remember in one
of the videos you did, one of the podcasts in US,

(11:28):
I saw the guitar in the background and I was like, yeah,
my idiosa, what kind of bro?

Speaker 1 (11:34):
That's a one hundred?

Speaker 2 (11:36):
It was.

Speaker 1 (11:36):
I got it way back when.

Speaker 5 (11:38):
Uh.

Speaker 2 (11:38):
I think. I think Rob Flynn has one, and that's
that's what inspired me to get it. When I saw
him playing it and I was like, fuck, I gotta
get that. And I think Mick Thompson had one for
a little while as well. I can't remember, but I
don't know. It just looked like Venom's guitar. I was like, fuck,
I need that guitar. Mankiller.

Speaker 3 (11:57):
That's killer. Yeah, I have.

Speaker 2 (11:59):
I have it.

Speaker 4 (12:00):
ESP for seventy clips, so it's like a Less Paul
kind of it's a Less Paul copy body, but it's
for a seven string and that the crips.

Speaker 3 (12:06):
I love ESP.

Speaker 4 (12:07):
I'm a sponsored by Solar, so I can't say that,
but I'll say it sick.

Speaker 2 (12:12):
It's sick, man sick. I will say man, like there
came a time in my career when because I thought
I was going to be a musician as well, you know,
like I was like fuck it up. You know, I
wanted to be like a China Marino, you know, and
I but but then I kind of hit it whall
where I was like fuck either because what was man?
When I got into the film industry, you know, I

(12:33):
was in the I was in the prop making department,
and I was just a floor sweeper, you know, like
so I was just a fucking club. But what I
figured out was like if I was going to do something,
I got it. Like I got to lean into it.
So I started making props and then I started drawing
all over the place, like tapping into because I stopped
drawing for a long time, and then I started drawing
all over the place and people realized, oh fuck, he
can draw. Then I got a job as a concept artist,

(12:54):
and I was so shit compared to my peers. I realized,
I'm like, fuck, like, I've got this opportunity now where
I can be a bit of an identity in this
realm Uh. I got to take it seriously. So I
kind of paused like caring about music, and I remember
making a decision in my heart. I was like, either
I get good at drawing or I get good at music,
like fucking choose and lean in, and uh I chose drawing.

(13:15):
So you know, that poor old guitar is kind of
just hung out there for a little while. I busted out.
I don't know. I just had it like probably like
six months ago. I just had it really strung and
fucking I didn't even do it myself. But I used
to do it. I used to. I used to have
a good year, man, I used to. I used to
be able to tune it by ear. But then I
just gave it up and I was like, fucking someone
revamped this so I can play it again. So you know,

(13:36):
I've had it out a little bit, but yeah, full transparency,
Like I'm not a good musician, so yeah, yeah.

Speaker 4 (13:43):
No, like yeah, tun agin I wish I could send
it out to get tune. I fucking hate that ship.
It's like my least favorite part about playing guitars too. Now, uh,
andro you use a Floyd Rose Yeah?

Speaker 2 (13:52):
My oh fuck man.

Speaker 6 (13:54):
Yeah it's uh it's a Jackson Warrior w R seven
seven string, and yeah, floating is like a bee to
like set it up in the beginning, but once you
do it repeatedly. But man, I have to put on
a movie in the background while I'm doing it just
to like keep me yeah focused, because I'm like, huh,
but yeah, I agree with you there, I'd rather have

(14:16):
someone else.

Speaker 4 (14:16):
Do we have a I want to say, like a
very well, we have a strong alien influence on our
We're in a band Cultify the Tyrants, and we have
a song called let in the Water that he wrote.
And when we were doing the Since, I was like, dude,
like I was just watching Prometheus Alien Covenant just like
in the background, because like when I do Since, I
do him like straight right, I do like for like
six hours. We do like six seven hours that day. Yeah,

(14:37):
and I'll just like have a movie on the background,
and I just like I got to get this kind
of like sonic atmosphere going. So I was really influenced

(15:01):
by like, yeah, Alien Covenant, Prometheus, the First Alien, like
that hr Geiger kind of vibe, you know what I mean.

Speaker 2 (15:08):
Yeah, I mean the sound design in both of those
films though, is fucking exquisite. And also I particularly love
the music from Alien Covenant as well. I just think
that's one of its strongest features.

Speaker 4 (15:20):
Actually, yeah, yeah, loved it, loved it. How were you
introduced to metal? Like what was the band that began
like your love of heavy metal?

Speaker 2 (15:29):
So I would typically tell you, I would say that
it was Smashing Pumpkins, right, like, but if you really
want to go back, right, if you really want to
go back to when I was a kid like you,
rhythmics kind of fucking got me. And and I remember
watching Ghostbusters and feeling like that, like that's when I
was like, it's like an alien first reconciling what it's

(15:50):
like to be on Earth. I was like I could
hear elements of that soundtrack in the rhythmics music, you know.
And and that's where the bridge of went across where
I was like, fuck, man, you know if you could
have like this, this creative experience mixed with this creative
experience and then so I then after that was just
so fucking experimental with music. And I've since come to

(16:12):
realize like if it has a like a if it
has a dark edge or a bit of teeth, then
I will I will gravitate towards it, you know, So
like even like trying to appreciate, like fuck, trying to
appreciate even classical or you know, the ship music that
everyone else listens to, if there is some kind of
like a come like like I like, I fucking did

(16:34):
not like eminem man like when that came around, But
that song where he's talking about killing that chick, I
was like, fuck, I could I could kind of get
in with this, right, and then yeah, that's it. Yeah,
that's it. Yeah. And then and then from there I
just kind of, yeah, so kind of evolved. I remember
Ace of Bass was a fucking like one of the
first cassette tapes ever bought. And then and then my

(16:54):
mom bought me Melancholy in the Infinite Sadness, a double
cassette tape, and I fucking listened to it to death. Man,
that song bodies ah and uh, I mean those that's
like that's like, that's that's metal gateway, you know, like
and then from their you know, machine Head was a
big thing for a long time. I kind of feel

(17:15):
like I kind of.

Speaker 1 (17:15):
Outgrew them a little bit.

Speaker 2 (17:16):
But I see you get a devil Driver tatoo there, man,
I fucking I loved devil Driver. That's when man, Yeah,
when in fury of that Maker's hand came out.

Speaker 3 (17:26):
So bro I love that album.

Speaker 2 (17:29):
When that well, so when that came out, right, So
this is what I did. Okay, Devil Driver were playing
at a festival in Australia, and so what I did was, Man,
I fucking tracked all the possible flights that they'd be
taking from festival to festival, and I went to the
airport with my friend and I waited and I tracked it.
There was two fucking flights it could have been, and

(17:50):
I was there to wait, and I fucking got him.
Man that that original line up with John Miller and uh,
Jeff Hendrick and John Bokland. Fuck, oh my god. I
go along with him the most because because he fuck
Because Brokland's grandfather is a famous painter, and Giga did
a rendition of one of Broakland's paintings and they actually
put that in an Alien Covenant. It's the Isle of

(18:11):
the Dead. You can see it like there's like a
it's like a vax comp of the Isle of the Dead.
But wow. Anyway, yeah, so I got along. I got
along with him. And now, of course, at this point
in my career, there's a lot of bands that I
you know, I can can connect with and and you're
lucky enough to kind of call him peers on some level.
So that's really fucking cool. But uh yeah, I mean yeah,

(18:33):
so you look. Yeah, Smashing Pumpkins is really the true
sort of when metal kind of began for me.

Speaker 3 (18:40):
But yeah, that was your gateway. Yeah, dude.

Speaker 4 (18:42):
Actually, it's funny you bring up Devil Driver. I mean
outside from the tattoo. Of course, we're interviewing Mike Spritzer
next Sunday.

Speaker 2 (18:50):
Yeah, what's he doing now?

Speaker 4 (18:52):
He's doing a band called Verona on Venus. They just
did a showcase not too long ago. I saw the
clips on Instagram. I was like, dude, I'm so pissed.
I was not at that show because l is two
hours away from San Diego, and I was like, God,
I really wanted to go to that.

Speaker 3 (19:04):
Dude.

Speaker 4 (19:04):
I have Bozzi Alberto, he's our producer for the show.
Him and I we go way back. And I think
your one of your first shows was Double Driver our shows.

Speaker 2 (19:13):
Yeah, No, my first show definitely for Medal with Devil Driver.

Speaker 4 (19:16):
Yeah, and it was on the Fury of the Maker's
Han tour. And it's also cool you bring the Machinehead
because like I'm a huge I still consider The Blackening
in my opinion, that's like my favorite metal album of
all time. That album fucking just oh yeah album. And
a few of our mikers hand the same thing. So yeah,
fuck it, I'm right, I'm right in there with you, man,
I'm right in there with you. I'm also looking this
way because that's where the monitor is, so I keep

(19:37):
like trying to like, okay, I gotta look this way too,
but yeah, dude, that's fucking awesome. Uh So, my son
had a question. My son's twelve, he's gonna be thirteen
in the month. He loves like everything with practical effects.
Last Halloween, we started showing him like Alien and Aliens
and all those. We just showed him Alien Romulus and
he fell in love with it. We watched it twice
that night, that's how much he loved it. Like we

(19:59):
watched it and it was like ten o'clock and his
mom was like, you gotta go to bed, and he's like, oh,
I can watch one more time, like all right. He
fell as seemed like halfway through, but uh, he loved it.
So I told I told him you were coming on,
and he had a question. So this is coming from
my son's very basic question. Uh, he wants to know
how you how you create monsters.

Speaker 3 (20:15):
Uh?

Speaker 2 (20:15):
Well, man, you know, because there's a couple of ways
you can do it right, because you know, like obviously
you can practically sculpt them as well, which which I'll
dabble in as well, but probably the fastest and easiest ways,
you know, when you when you can see the design
by drawing it, you know, like, and they don't necessarily
have to be great drawings, but I feel like some
of the best stuff you can get a very iconic

(20:38):
read off some very basic drawings, you know. And I'm
not saying I'm good at that, but that's that's a
good place to start, you know. And but to be honest,
I mean, that's the that's the textbook answer. It's like, yeah,
to draw it, man, But no, you know, I am
so fucking impassionate about this. Man. I love the Nightmare
on ELM Street movies like well me, they for me,

(21:01):
it's such a broad range of creative, practical effects, problem solving,
exciting visuals and and you know, the first night around
ELM Street Man when when they're in that rotating room
and the chicks getting drpt like like fuck off man.
That that that's that's life changing, you know what I mean.
That is like that that that that forms your that's
a that's an identity forming artistic experience, you know. And

(21:25):
I feel like when it comes to creating monster's, I
feel like, especially in this day and age, and especially
in the age of AI, like I mean, every man
and his dog can come up with something pretty.

Speaker 1 (21:34):
Fucking whacked, I guess.

Speaker 2 (21:35):
But if you could tap into I really love the
Silent Hill video games, like so so next to Giga,
I would I would count Silent Hill has been probably
one of the biggest influences on me. And and not
not consciously, not like, oh my god, I love Silent
Hill like I don't get me wrong, I do, but
I mean, I mean it influenced me like I could
not do a painting without putting rust in the fucking

(21:56):
background or making it like connect psychologe logically to a
trauma or.

Speaker 1 (22:02):
To a purpose or to something well, because that's what's so.

Speaker 2 (22:04):
Cool about that that those games, man, like for most
of them, you know, they're connected, those villains and those monsters,
they're all connected to some psychological significant fucking event. And
I feel like when it comes to creating monsters, if
you could tap into some kind of significant, some kind
of language that gives it a purpose, gives it some

(22:25):
kind of spiritual relevance. Man, you know, I feel like
that's where you that's where you could kind of exist.
And Man, when I look at my Instagram and I
look at the work that I put in there, I'm
don'ting me wrong. I'm proud of a lot of the
shit that I do. But then there's other artists I
see and I just think, Fuck, man, I can't even
I can't touch that. I can't even go there. I mean,

(22:45):
I'm just I'm still striving to get anywhere near it.
But all I all I can go back to. All
keep trying to push for is I want everything to
have a visceral kind of presence. I want to I
want it to have an effect. I would love to
believe that everything I draw has noise, it's accompanied by
a sound without you, without you realizing, you know, like

(23:08):
there's a movement of flow and a scratch, a fucking
something going on. And I and look to not be
on my own dick too hard, but I really like
to lean into I guess that the spiritual significance of it,
you know, like like where does it come from? What's
what's uh? You know, it's just gonna sound so funny,
but Fury Road and Mad Max and Furiosa like that stuff.

(23:31):
That stuff is all about that, man, It's all about
that because every character has got some fucking perverted bend
and it goes it goes to something like some broken
part of their childhood and what is it about their
vehicle that they worship? What what is it an answer
to spiritually? You know. And again, no one's gonna fucking

(23:53):
see that, and everyone can just laugh it off and
that's fine, But I mean that's the process that it
goes through. That's and that's the process that I, you know,
went through every time I would apply my you know,
my hand to it. So yeah, there you go. Man,
that's a little you get a little a little specific,
you know, do drawings, a little practical, and then a
lot of hypothetical wank you know.

Speaker 4 (24:12):
Yeah, No, I appreciate, Like I I was like, ask
him this, to ask him, I'm probably gonna give me
like a little bit of a like a textbook answer
or whatever. But yeah, you just give me a lot
of depth and I'm sure he's gonna appreciate that he
loves watching. We have the Mike magdola documentary on Hellboy
where Mike mcgnola talks a lot about Hellboy and Hellboy
two means a lot to us. So my son's all
about monsters. He's all about monsters. We showed him all

(24:32):
the classics, Clashing the Titans, all that uh ma, and
then to me, like I understand, like when when you're saying,
you're trying to add like a like a spiritual kind
of almost like a a thread into the monsters as well.
Like I'm I'm big on comic book movies. I'm big
on like action movies, but I always resonate more with monsters.
And all my tattoos are you know, monsters everything for
my like my Alien Calavera I We're finishing next week, Godzilla,

(24:56):
Kingdora like I have, Like, monsters is where I belong.

Speaker 3 (24:59):
And so I'm like, I'm right in there with you.

Speaker 2 (25:01):
Oh cool man, How did okay?

Speaker 3 (25:03):
So, So I'm I'm a big Marble fan. Well, myself
and Handro are big.

Speaker 4 (25:06):
Marble fans, So we wanted to ask this, how did
your work with Marvel Studios? For shung Chi and the
legend of the Ten Rings come about. And what was
your experience working in the Marble system.

Speaker 2 (25:16):
Dude, I gotta I gotta say from a distance, right
like so, because thor Ragnarok was my first kind of dabble,
and at that time, I was just finishing on Alien
Covenant and they were speaking about, Hey, listen, they're going
to set it up cameras over the top of your
computer because they're so nervous about ship leaking out, you know.
And I got this feeling. I was just say, oh
my god, fuck this is We're going to orwelly in town. Man.

Speaker 1 (25:39):
They can eat my fucking balls.

Speaker 2 (25:41):
I don't care. I don't want to touch this project,
right And and so I had a I had a
pre conceived notion of judgment about about what that experience
was going to be like, and I was allergic to it.
Right now. What happened was I was on Aquaman, I
was on a in the DC movie, and I kissed
off the art director because I left early. I went

(26:03):
to the Covenant premiere in London and then went on
to a job in China that was paying a heaps
of money, and so he was fucking spewing, and he
was on the phone going, mate, you can't afford to
be burning bridges. You're too young in the game. I'm like,
fucking young in the game. Whatever I mean, you know,
I mean. I stuck to my guns and I left.
And what happened was Shane Chi came around and I

(26:23):
had two choices. I was either going to go and do.
At the time, this felt so prestigious, but the Lord
of the Rings TV show was gearing up, and they
offered me five years for five seasons, right, five street
years and it was going to be in New Zealand
and they and they offered to move me out there
and set me up. And I was like, fuck, all right,
that's a big step, that's a big ask, five years

(26:45):
of doing.

Speaker 1 (26:46):
That shit, Like is it going to sit well with me?

Speaker 2 (26:48):
I don't know. And so I thought about it and
I eventually agreed. I said, yeah, okay, I'll do it.
Just give me flight details, let me know when we're
going to do it. Let's let's see what happened. So
they kept delaying, they go next week, next week, next week,
next week, next week, until finally I was just like,
oh fuck it. I was on Mortal Combat at the
moment at that time, the first Wall to Combat movie
and two other projects which I can't remember.

Speaker 1 (27:08):
But so I started work on Lord of the Rings
and then.

Speaker 2 (27:11):
I got an email from that art director that I
pissed off, and he goes, I'm doing a Marvel movie.
Do you want to do it? And I was like,
what is it? And he goes, It's like kung Fu?
And I'm like, what the fuck am I going to do
on a kung Fu move? You know this is not
a good fit for me. But man, I saw the
olive branch that art director and I was like, you
know what, man, these Lord of the Rings guys are
sucking me around. I'll just take the job. So I

(27:32):
took it, and then the next day Lord of the
Rings gets back to me. They go, yeah, man, you're on,
so let's go. And I was like, snooze, you lose, man,
You're done, And so fucking thankful I ducked it because
obviously then they move production to Scotland and fucking and
also it turned out to be like a hollow piece
of shit project anyway, but Shang Chi Man turned into
one of my absolute favorite jobs I've ever done ever,

(27:54):
and that is because the production designer, sou Chan got
the job and she really enjoyed my work and she
really enjoyed collaborating, and she fucking let me loose. Man,
it was as good as it was as good as
Fury Road, like or Covenant, where basically the filmmakers they
like what I do and they just go, whatever you
do is what we like, so do what you want.

(28:14):
And I'm like, fucking thank you very much, you know, like,
let's go, and they're they're the best films. It's the
best job. And so man, I was on that movie
for nearly two years COVID here uh And during COVID,
I went straight onto Furiosa and then when and coincidentally,
as soon as shang Chi started back up, Furiosa went
quiet where they went into money raising mode and just
jumped onto shang Chi. And shang Chi was a fucking blast.

(28:38):
And I since work with Sue maybe like maybe six
times since then on. You know, we did we did
burdter Bot I just came about and so you know,
that was a fucking great job. And the Marvel system
that I was afraid of, it didn't even exist. Man,
I could do whatever I want. Kevin Fay had, Like
I was drawing the fucking trinkets that they were that
they were giving out as uh, fucking crew gifts to everyone,

(29:02):
you know. And I just found the director's hats and
fucking shirts and and and at that time, they were
trying to do a pitch for Ben Kingsley, Ben Kingsley
and that little ass monster which I think I can't
remember his name, and yeah, it's called Frank or some ship,
but anyway, and uh, and they're doing a pitch like

(29:25):
it was a marble pitch for a TV show for
that that character, and and Trevor uh and uh. And
I worked on that like and then and then at
that time, Captain Marvel two was a thing, and I
started working on that as well. So, man, I folded
right into that machine, and I was very fucking comfortable.
But man, I think that the machine is very receptive,

(29:46):
like like it's very it's very fucking.

Speaker 1 (29:51):
Aware of what financial success looks like.

Speaker 2 (29:53):
And so it's very receptive to what, like what people
are reacting to, what are they doing, you know, all
that sort of sh it. So, uh, you know, obviously
the Trevors Show went nowhere, and you know, Captain Marvel
like therees a big reaction to that, so that turned
into something else entirely. But man, I loved it. I
absolutely loved it. And it's weird for me, like someone
that just loves dark shit and evil stuff, to look

(30:17):
at that and just go like, man, that was a
fantastic job. And not to mention, I got to do
if anything had a shred of I got to at
least have a crack at it, you know. So that
always keeps me happy.

Speaker 3 (30:30):
So I tell yeah, that's awesome, dude.

Speaker 4 (30:33):
Yeah, it's it's because like we like, or at least
mean like, I love dark stuff, like I love I
love your art. I love anything that is visceral and gritty.
But I also love like Jack Kirby stuff. I like
very like colorful, very like we just watched Fantastic four
last night. Amazing, this is awesome. Yeah, you gotta have
the balance, you.

Speaker 2 (30:49):
Know what I mean.

Speaker 3 (30:49):
It's so cool and super fun. I think with you
being able.

Speaker 4 (30:52):
To like express that and flex your those muscles a
little bit more, I mean that that's pretty cool. Because
when I was looking at your IMDb, I'm like, oh, yeah,
definitely he worked on that.

Speaker 3 (30:59):
That's sick.

Speaker 4 (30:59):
That's shang Chi. What do you do on shung Chi?
And I went on your Instagram. I found some stuff
and this is a cool man. Moving on to some Predators.

Speaker 1 (31:07):
Yeah, thanks.

Speaker 4 (31:08):
One of my personal favorite projects that I've been the
part of would be Predator of Killer of Killers. I'm
a huge fan of that franchise, and I want to
talk a little bit about the role you played in
creating the new Predators.

Speaker 2 (31:18):
Yeah. Man, uh, well, so the way that that worked
out was on Alien Romulus. I was hanging out with
Ali Gillis a lot, and you know, I met Ali
Gillis a couple of years before. And also he happens
to be one of those guys where I used to
have the DVD of Alien Verse Predator, you know, and like,
I mean, I'll watching me wrong. I used to watch

(31:39):
Alien like once every fucking two weeks. Alien Aliens and
Alien three I love them so hopelessly. And Resurrection. I
don't love Resurrection, but I watched the fuck out of it.
I could quote it for you, like line for line,
but man, all those practical effects. I remember watching this
is but I couldn't afford to eat right, and I
was in the garage and I had a TV that

(31:59):
my friend gave me and I had, I didn't I
couldn't connect to TV stations and I hated commercials, so
I was like, fuck, all I watched was the Simpsons
and movies, right, That's all I watched over and over
and over again, and I didn't watch anything else. And
so I put a DVD in of those movies like
of Alien Verse Predator, and Ali gils Is on there,

(32:19):
and I remember just saying to everyone at the time,
I go, you see that guy, I'm gonna I'm gonna
work with that guy one day. I'm going to do that.
And on Ailien Romulus, I did the Chess burst, you know,
like I mean it's the chess Purst has already designed,
but I mean I had my turn, and I try
to keep it as close to the original and try
to like make loving homages to the originals, but try
to push it in a more evolved direction. And Ali

(32:43):
Gillis was the one that made it, so I was like, ah,
this is fucking cool man. So when I was over
in Budapest, I hung out with him and he goes,
you know, men, you know, I'm doing a Predator movie
after this, and I was like, yeah, whatever you want
to do. I mean, like, let's go, let's do it.
So as soon as I go back, I started on
Killer of Killers. And at that time I said to him,
I said, look, man, you know I can't draw like

(33:03):
anime shit. I mean I can do that if you want,
but you're not going to get great designs out of me.

Speaker 1 (33:08):
He goes, no, no, I don't care.

Speaker 2 (33:09):
Just draw cool predators, man, and and then we'll take
it from there. And and and they can they can
make of it what they will, you know. And at
that time, like visually, like aesthetic wise, they weren't sure
exactly what Killer of Killers was going to look like.
And so you know, I I just did fucking cool predators. Man.
I tried to push, like for an albino predator that

(33:31):
you know, there's one in the snow right yeah, And
I tried, I try to sell the idea that, you know,
because they're they're heat heat sensitive creatures, you know, like
they like to go or it's hot. So I had
one where like his dreads were fucking melting off because
he's having a reaction to the cold, and so it
made him that was that berserk predator. In my mind,
what I was pushing for was that berserk Predator was

(33:54):
going fucking berserk, Like fuck, that would have been cool,
man then anyway I could I mean, I'm I d
no victories that I couldn't. I didn't get it in.
But you know, it was like the berserker Predator was
going berserk because it was losing its mind because its
flash is fucking deteriorating because of the cult, you know.
And so I did all these scars and fucked up
shit on it. But uh, you know, in the end,

(34:17):
that movie looks very, very different to the stuff I
contributed to The girl that the Warrior, the female, she's
pretty close to the thing that I drew. But it
was all it was all through Alex Gilvers, So it
was all through Studio Gillis and uh and weirdly enough
like which then of course Bad Lends was after that,
but bad Lands again, I actually got that job through

(34:39):
reputation alone. It wasn't through Alec Gillis. It was just
through the fucking they wanted to work with me. So man,
yeah it was. It was weird. Man, It was very
very unique experiencing. But yeah, I'm very I'm of course
very lucky that I got to work on it.

Speaker 3 (34:51):
So, yeah, that's sick. That's sick.

Speaker 2 (34:53):
Nice.

Speaker 3 (34:54):
So leads me to another question. Do you listen to
music while you work?

Speaker 4 (34:57):
If so, what kind of bands or albums help you
tap into the darker, more intense visual ideas.

Speaker 2 (35:03):
But I'm so, I'm so fucking like spiritually temperamental, right,
So I don't want to listen. I don't want to
taint like a great album if I'm having a bad
time in my life, like so, I can't so if
I'm going through something challenging, or if like, you know,
you know, when I was on Romulus, I was, I did.
I was on Alien, Romulus, the Ballerina, the John Wickspinoff movie.

(35:29):
There was a TV show called Nautilus that I think
they eventually released, which is the twenty thousand Leagues under
the Sea, so to knock off kind of thing, and
something it might have been. It might have been finishing
off Mortal Combat, I don't remember, but.

Speaker 1 (35:42):
It was something else. But I was on all those
jobs at the exact.

Speaker 2 (35:44):
Same time, and I was like so fucking nervous, like
and I was so strung out. And sometimes I'll put
on comfort albums. I can put on a lamb of
God album, any of the first four albums, I'll put
it on, yeah, And then I was just like that
to me, is like I could just mentally switch off
and just fucking you know, like I like, I know

(36:06):
every I know every word, every fucking note, every everything,
and so I just go to this mental place where
I'm like, I'm like, I'm unhinge.

Speaker 1 (36:16):
And I get into a groove and it's beautiful.

Speaker 2 (36:19):
Uh. And then sometimes I'll try experimental shit, like where
I'll get into electronic music and and get like, you know,
trying to get sort of lost in it. But I'm
very temperamental man, Like it's so this sounds so fucking stupid.
But sometimes I like I'll put on trashy like sometimes
I'll watch like a shit movie, like a deliberately shit movie,
so A, I could be convinced I'll never make something

(36:42):
as bad as that, no matter what kind of decisions
i'm my life, and B I'm not violating anything like
any any sanctity of any holy experience, you know, because
I I don't want to do that, you know. And
there are there are experiences where if I'm listening to
music and I if I'm watching a movie and I

(37:04):
designed the character, and I see like a curve of
say the tooth or some fucking angle or something. My
brain is immediately connected. And this is a primal experience,
like the synaptic connections to you know, if you're being
creative or you're creating something, you're in the in the
groove of something special or sacred. You connect. It's like sex,

(37:25):
you know, like you're connecting to something sacred and uh
and you're forever locked it. And if you see your
smell or feel anything that's similar to that, you immediately
go to that place, you know. And so I'm very,
very very protective of like a good fucking metal album
or like there's even some albums from bands that I
love where it's like I haven't even listened to them

(37:46):
properly because I don't want to reckon. I gotta be no, no,
I gotta be. I've gotta be in a virgin headspace
where I could where I gotta I gotta treat this
with the respect that it deserves, you know, Like and
so uh, man, the answer to the question is right,
so much fucking spiritual wank. I'm so sorry.

Speaker 7 (38:03):
I mean, I swear, man, if you meet me, I'm
not a dickhead, I swear, but but no, man, but
just to give you like literal like names of bands
that I sit and I listen to.

Speaker 2 (38:16):
I do listen to the Lamb I got a ship ton,
you know, And I'll even try the album. Sometimes I
don't like anything too friendly, like anything that's too harmonious,
Like I don't like clean vocals. I don't like anything
that's too like happy. And it's not because I'm an
unhappy person. I just I just I just I need teeth, man.
You know, it's like the Animal Kingdom. I really only

(38:38):
care about the the ones that are fucking evil, you know,
because it's just it's just cooler to me.

Speaker 1 (38:44):
I don't know, you know.

Speaker 2 (38:46):
So yeah, my god, you know, I listened to like
old machine Heads. Sometimes I listen to like My Sugar
listen to I listened. I listened to a lot of
Aborted recently, and a lot of Faultchy Yeah, man, I
bought it. I just fucked that that latest album Man,

(39:06):
Vault of Horrors, I think it is. I just I
just fucking listened to that. It's such an a song.
And and let me get into a little fucking diatribe here,
right being if I could ever do it. It's here, right,

(39:27):
this is my first my first music pod. Yeah, my
first music podcast. Like I'm I'm gonna I'm fucking lashing
out here, right, But let's go. The thing that I
love about metal, man, especially contemporary metal, fucking really really
complex metal, uh with an evil spirit. I feel like
it's the closest thing to Shakespeare, right, it's it is

(39:49):
because it is composed of such fears. It's obviously it's
it's at times incredibly simple and primal, like the instinct
to you know, make or connect with someone. But then
other times it's layered and dense and nuanced, and you
need to work through it to digest it. And if
you don't have the patience, you don't have the intellect,

(40:10):
you don't have the instinct, the desire, you will get
left behind. You will hear white noise, you know. And
that is that that for me, is just so compelling,
and that's why I fucking love it. I'm so drawn
to it. It's scary, it's it's violent and confronting at first,
and then it's like when I first listened to Brigiera,
you know that Mexicana. Yeah, I fucking love that band.

(40:38):
And but when I first listened to that, I was like, fuck,
these counts, man, they must be killing people. They know.
It's got that bareheaded it's got that beheaded guy on that.
When I first saw that, I was like, these these
fucking guys, they're murderers for sure. Man.

Speaker 1 (40:51):
They talk about drug dealing and all that ship.

Speaker 2 (40:53):
Like and then but then, man, now that's like fucking
radio music to me. Man. I played to my kids
like I do. I'm just like, oh yeah, listen to
a bit of bismo, you know, and that's that Like
it's so yeah, you know, your brain, your brain kind
of like attunes to that, like the complex frequency, and
I find that exhilarating. Man, I find it fucking exhilarating.

(41:15):
And so you know, if dance music can do the
same thing that I'm all there for it, you know
obviously like Aphex Twin and yeah yeah man, so yes,
music plays a huge part in what I do. And
like I said earlier, like that was potentially another career
path for me, which I.

Speaker 1 (41:30):
Suspect if I really hit that.

Speaker 2 (41:32):
I reckon, I would have made a mark there, Like
I'm that I'm that fucking aggressive about what I like
I think I might have been I could have been good, man,
I could have been good.

Speaker 3 (41:42):
Yeah.

Speaker 4 (41:43):
So we talk a lot about them here because Rudy's
Rudy's varying THEE and we come from San Diego. So
the first time I'm seeing like pictures and videos of them,
I'm like, do these fools work for the cartel? Because
we live two minutes away from Tijuana? Like, we live
like two exits away, So I'm playing in TJ to
what the fuck? Like, what's going on?

Speaker 3 (42:02):
Crazy? Crazy?

Speaker 4 (42:04):
So, like a band, filmmakers are often seen as teams
trying to accomplish, you know, a goal. Is there a
film project where you felt most connected to your team?

Speaker 2 (42:11):
Yeah, man, I'm gonna give you two answers, and I'll
try to lay off the jiz, all right, right, easy,
easy answer, man, is of course the stuff that I
make for myself, So the films that I write, and
you know, I directed my my short film a couple
of years ago and it did quite well, and of
course I'm working on more all the time. Everything is
a means to an end, and that end is to
tell these kinds of stories. So of course that that's

(42:33):
an easy one though. That's like a whole team of
people that I love and revere, and they are actually there,
fell in love with the script that I wrote and
the energy that I have, so they they they fold
into that. So that, of course is a very sacred
and very fortunate position to have been in, right, So
that's but that's easy, right. But then next to that,
of course, you know, Fury Road for me, was was

(42:57):
such a holy experience, and there was everyone, even the
people you didn't like that are a part of that
world or in that team, like from ranging from a
mechanic to a bike mechanic, to bike cosmetics to vehicle cosmetics,
to makeup team to fucking the concept, you know, all
of that stuff. Even the people that you didn't like,
they became characters that you sort of would have to

(43:18):
work around. And because it was such a unified vision, man,
because it was so exciting. It was the first time
I'd ever been on a film project where the production
designer we all sat down and had popcorn and we
watched the film in storyboard, right, So we went through
the storyboards and he talked through the storyboards. So he's
sitting there for like an hour and a half watching

(43:39):
the movie in storyboard form, which is an excellent way
to invite the collaboration of the team. Man Like, if
you're there as a plab and you're regarded as a player,
then you will make a plubs contribution.

Speaker 1 (43:49):
But if you are invited.

Speaker 2 (43:51):
In because someone has got respect for what you can
bring to the table, or they're excited about your unique voice,
that you get excited about your unique voice and you
do some amazing shit. And I did, man Like, I
saw that from other people, and I saw it in myself,
and I'm so grateful that that's the environment. That was
credit and that was all the production designer, Colin Gibson.
He wanted it to be like that, and so it

(44:12):
was such an honor to be a part of it.
And the fact that it turned out to be so historic,
you know, like at the time we thought it was
gonna be the dopiest piece of shit in the world.
But at least we had a ball making it. You know.
It's like, man, this is so fucking stupid, except when
we saw the trial, like when the shit got made,
like when the giga horse was manufactured and you could
stand underneath it, like the clearance of the wheels was
high enough that you could stand underneath this fucking caddy. Honestly,

(44:36):
this was quite a like religious experience, Like it was.
It felt like you were you were in the presence
of some fucking deity. Man like it was special. And
but outside that, we thought it was gonna be silly
as fucking Then when it came out and you know,
got nominated for nine Academy Awards and it won a
couple of them, and then you know, I got mentioned

(44:56):
in the in the in the Oscars for that one
as well, and I just thought, man, that became that
that was a huge fucking team effort. It was. It
was an incredible time of my life and I'm so
lucky to have been a part of it. And so yeah, man,
much like a band, everyone's got their role and no
one's trying to do each other's roles. It doesn't really

(45:16):
work like that. It's it's like a celebration of unique voices.
And that was like that. So yes, man, yeah.

Speaker 3 (45:22):
Yeah, I loved like I love Fear Road.

Speaker 4 (45:24):
It was a big surprise to me because, uh, I
grew up on the Mad Max movies. My dad's a
huge Mad Max fan, and I grew up on Thunder Dome.
That was like my main one, right to the Tina
Turner one. And uh so I was looking forward to
Your Road and watching it. Whenever I watched movies, I
always watch it for first for the story in the spectacle,
and then after my second viewing, I'm more interested in
like how they made it, the practical effects, everything from
the sound, sound design and all that. And you could

(45:47):
just feel the energy coming from the movie. Just the
team had a blast like everything.

Speaker 3 (45:52):
You just have fun. It's just so such a fun
movie to watch. Absolutely love that movie. Best. Okay, so
this is a this is a curveball best concert you've
ever been to?

Speaker 8 (46:01):
And why man, look look like I don't want to
be I don't want to tell you some fucking cool stories,
but I'm just gonna tell you right now that when
you ask that question, my knee jerk cerebral reaction to
that was Slayer was.

Speaker 2 (46:15):
Doing the farewell tour right. Oh and and my favorite
song from Slayer is Payback and I swear to God man, like,
I know, I look, I know, I know, that's not

(46:37):
that's not it's a deep cut in a way, you know.
But but the last song they played right like and
Tom goes, this song is about getting and I screamed
it out even I've.

Speaker 1 (46:50):
Never heard him say that before.

Speaker 2 (46:53):
By getting even and he goes, this song is about payback, right,
And I was like, you fucking seriously, that was the
last and I was I just couldn't have been So
I just couldn't have been more edified. And I mean,
you hear that fucking that. And I was straight in, man.
And the sound was beautiful. It was an awesome show.
It was a six setup. And so I've been the

(47:15):
great fucking concerts man, like I got. You know, Adam
Jones is is a friend of a friend, so you know,
we get like his sort of family tickets when those
shows come around, and it's just a beautiful experience to
sit down and enjoy a tool show, you know, and
uh and and in a good fucking spot, you know,
and just really absorb it. But I mean, but when
you ask me that, I've got to be honest and

(47:37):
just tell you like that, my first knee joke reaction
was that that farewell Slayer to her, that concert was
a part of a festival, but seeing Slayer there, the
sound quality was immaculate. The track listing, the choices of
tracks was just fucking great. And to end on that
deep cut and it just happens in my favorite song.
I just felt like I ate an incredibly edifying meal.

Speaker 3 (47:59):
Yeah, that's awesome, that's sick.

Speaker 2 (48:01):
That is great.

Speaker 4 (48:02):
I think I've had that sind almost the same feeling
because it was when we went to go see a
Devil Driver on the Funeralmaker's hand the minute that you
said that about like having a deep cut be the
last song on the set Devil Driver, Like when I
bought that album, there's no singles off that album. Just
hold Back the Day was the first single and that
went out. Bought it, yeah, and listened to all the
deep cuts, first track to end, and the last song

(48:23):
they played, they actually came back out and they were
we're gonna play one more.

Speaker 3 (48:25):
I'm like, before is Noose?

Speaker 2 (48:28):
I love that song, my bro, such a great track, man.

Speaker 4 (48:31):
I screamed it and then then the lights kind of
go out and they kick into it comes back on
and I fucking lost my ship.

Speaker 3 (48:38):
So I'm right there with you. Oh dude, that's.

Speaker 2 (48:40):
A good way. And I love all the bonus tracks
from the from that the voting session, I'm guilty of
sin that's right. Yeah, yeah, and you know that concept. Man,
when they when they came when when I met them
at the airport, I then went to the venue. I
had time to kill. So when when they arrived at
the venue, they saw me there, They're like, oh, fuck, dude,
you know you're you're like the deal man, Like, let's

(49:01):
go around Sydney and just check this fucking place out.
I go, yeah, fuck, yeah, man, this is I was
like twenty three at the time. Man, I wasn't used
to hanging out with it like celebrities or anything, but
like to me, they were. To me, they were fucking celebrities.
That's why I was so desperate to meet him at
the airport. So then we just walked around looking for
Devil Driver posters together and I was just fucking great man.
And then and then when the show ended, I remember

(49:23):
hanging out with Mike Mike Sprites are at the at
the bar, and I remember this guy had this big
fresh Devil Driver tattoo on his arm and he was
so fucking stoned and I was so proud. I was
so proud that, like like I was, I was sharp
as a fucking as a snare man, And I got
to sit down with Mike and just shoot the ship
like into oblivion for the whole And I had the

(49:44):
most edifying experience. And I saw that guy with this
fresh tattoo, like walk up, watch me talking to Mike
and just have no fucking like faculty to get out
of his state to connect with the conversation because Mike
would have talked to him, you know. And I remember
just being like, fuck, I'm really glad. I'm really fucking glad.

Speaker 1 (50:03):
I went to the airport. I'm really glad.

Speaker 2 (50:05):
I you know. I just I just love taking a
mundane experience like I'm gonna go to a concert tonight,
and just taking it and just flipping it into something spiritual,
you know.

Speaker 1 (50:14):
It's flipping it into.

Speaker 2 (50:14):
Something that's got a little bit more memory, you know,
like a story I could tell. I fucking love that feeling.
I love it.

Speaker 3 (50:21):
Yeah, that's awesome. Yeah.

Speaker 4 (50:24):
So with Devil Driver, so I got in Delder I
was fifteen, the Fury just came out. I got into
it on the first album. But Fury is where Blder
became like one of my favorite bands. And I remember
like my favorite band's Corn Metallica and then Devil Driver.
So I'm never gonna meet Corner Metallica most likely, but
I remember Devildr was gonna play House Blues here in
San Diego, and I my last period of school took

(50:45):
the trolley down to downtown San Diego, got off on
House of Blues and I just waited there, like at
three pm, and I'm like, man, dude, oh cool, I
can't wait till but it's a twenty one in the venue.
I'm fifteen. I'm like, I just want to catch a
glimpse of the band. And the bus pulls up, maybe
like an hour after me just sitting there with all
the homeless people, everyone just panhandling, and the bus pulls
up and John Berklen gets off the bus. I'm oh shit,

(51:06):
John Brooklyn and I had this this like trashy little
camera from seventy eleven, and I was like, man, I'm
gonna try and get a picture real quick, and I
like took a picture of John and as he's walking away,
he looks at me all weird, like what the fuck
is this kid doing?

Speaker 3 (51:18):
And he takes off.

Speaker 4 (51:19):
Then John Miller comes out and I take a picture
John Miller and he's like, hey, kid, you want to
take a picture with you. I'm like, yeah, I would
love that, and so we took a picture together. He
was like, all the guys are gonna come off at
some point. Don't take pictures of him. Don't be weird,
just ask him. So I got pictures with everybody in
the band, including Daz, his wife, and NEAs. Stacey actually
took our picture, which it's a beautiful, but never got

(51:40):
a picture with John Berkeley.

Speaker 3 (51:42):
Yeah, oh shit, yeah right Berkeley.

Speaker 2 (51:47):
No, no, I remember like I saw then. I saw
John at the cinemas, like the second too, and the
next two. I was going to watch that movie Rogue
about the killer Croc, the giant cru movie, and he
was just walking out of a session and I was
walking in. I was like John, He's like, oh fuck,
hey man, Like he didn't remember me, of course, but
we talk on the internet and I was just, oh shit, man,
you know, I'm the giga guy, like the you know, like,

(52:08):
oh fuck, oh yeah cool man. Yeah, anyways, yeah, fucking
yeah cool.

Speaker 4 (52:12):
As someone who has also worked in production design, have
you ever considered working on a stage production design for
a band?

Speaker 3 (52:18):
And a so what bands life show would you like
to design?

Speaker 2 (52:23):
Yit? Man, I've never considered that in full transparency, I
feel like whenever I think of the stage, I just
think of anyone who's not in that band is probably
not making sufficient enough money to live a happy life.
That's that's my that's my feeling, just just because of
what theater is like right now. Having said that, of course,

(52:44):
if the opportunity arose, given how much I love bands,
you know, man, I would probably love to I'd probably
love to do. Man.

Speaker 1 (52:54):
Deftones for the longest time were my.

Speaker 2 (52:58):
Favorite band, like as a kid, you know, and I
just couldn't. I mean, the Lates stuff is a little
too friendly for me, you know, I just so I
just lost connection with it. And next to that's probably
maybe Ministry, man, you know, like like I love I
love industrial, so probably Ministry. Do you guys know that
movie Tetsuo the Iron Man. No, it's a Japanese movie, Okay, big,

(53:28):
big influence on me. Man. It's like it's like black
and white, right, and it's that guy. There's a Japanese
filmmaker I forget his name, forgive me, but the Japanese
filmmaker he makes a movie like once a year, Like
he's super prolific filmmaker. And it's kind of like the
fucking craziest music video ever. And the guy that made

(53:48):
the sound he's dead now. His name was chew Is
Shigawa and Chew that music in that in that movie
is fucking fucking excellent. Man, it's so industrial, it is
so like, it's so cold and merciless, you know, and
fucking like driving rhythms, you know, much like older stuff. Anyway,

(54:11):
I would do like a stage production exactly like that movie,
heaps of fucking cybernetic machine parts, all dirty grays and
dirty oranges, rusty fucking hellscapes. And I would, man, I
would smoke it. I would do it all cheap, I
would do it all. I would do it fucking all resourceful.
I would like to make a marker. This is not

(54:32):
an environmental thing. This is I'm just proud of when
I can repurpose stuff. This is very mad Max of me,
you know. I would. I would repurpose everything in it
and just make it super industrial. And of course I
would then dictate the track list because I want to
be very selective about the tracks they play like that.

Speaker 4 (54:54):
What are some artists I know you kind of touched
on this just a little bit earlier. But who are
some artists that have influenced your work visa and or musically.

Speaker 2 (55:03):
Uh, well, we'll start with music because it impacts the
funk out of me. You know, Ministry is like a
huge ministry and Deftones kind of sum up my, you
know that that dreamy romanticism can't a fucking a little
bit nihilistic early Deftone stuff mixed with the mechanical fucking

(55:24):
Paul Bucker's base. Oh Jesus man. Uh, the stuff like
ministry stuff, that's that's I'm always trying to make images
like that. You know. I wrote, I wrote this feature
film that I would love to make. Uh. It's got
a lot of love, but it's a very expensive story
to make, so I gotta I gotta keep working on my.

Speaker 1 (55:42):
Profile out here in the world, you know.

Speaker 2 (55:45):
But yeah, super industrial, machine, bloody, visceral, fucking love it.

Speaker 1 (55:52):
So yeah, that's uh, that's musically wise, you know. Obviously,
Gig was.

Speaker 2 (56:00):
The first artist that I'd ever learned his name and
read books about and uh and cared about. And then
of course you get introduced to like the little like
the offshoots or the parallel evolution, what do you call that?

Speaker 9 (56:14):
Uh, fuck man, the Polish guy Begskinsky how whether you
say his name his work, Yeah, basically just like another
another like a gentle soul that just had an insight
into hell.

Speaker 2 (56:28):
And it was just just a fucking beautiful, beautiful artist.
Uh and contemporarily like I'm a big fan of like,
I really like this is a concept that it's called
Jeff Simpson always always excited about whatever he does. It
has just a it's just got this oh man, this
ethereal ethereal ancient edge to everything that he kind of does.

(56:52):
And you know, and who else man, I I also
this is a friend of mine, but he's still a
huge influencer. You know. This is a bit of cocksucking.
But down for that. My friend, my friend Dominic Kalesten,
who does all of the tools visuals. Yeah, and he
did that. He needed the Opiate video. You know, they
re released Opia. I don't think people reacted well to

(57:13):
the track being re recorded, bit that. The video though,
is fucking phenomenal. And I just go back to his
work all the time if I'm feeling dejected, and I'll
go back to But yeah, he's a good friend of mine,
So it's a bit. It's a bit funny. It's a
bit like hanging out with Ala Gillis. You know, it's
someone that I got a lot of reverence for, but
I could but I call them every other whenever I
want to just shoot the ship about light. So yeah, Dominic.

(57:36):
Dominic is a big influence on me, and if not,
if not in style, but also in the fact that
he doesn't give a shit and he's ready to just
make stuff all the time. And he is the one
that I was hanging out with him in London once
and he and he goes, I said something about hanging
out with regular people or talking to someone about something

(57:56):
fucking Monday. He goes, yeah, yeah, yeah, man, that's why
I stopped doing it. What do you mean, He goes, yeah, so, yes,
I'm talking to regular people. I don't do it. I go, well,
what do you mean? He goes, I just talked to artists,
you know, I don't. They're the only people that understand,
so why would I waste my time? I'm like, huh.
And since and I pretty much became pretty much adopted
exactly that. I'm like, if you're not creative, I mean,
it's not I don't have contempt for those people. But

(58:18):
I'm just saying I probably don't have enough in common
to really connect with you. And even though I probably could,
I'll choose not to, you know, rather not so yeah, gotcha, gotcha?

Speaker 4 (58:31):
If you were to collaborate on a visual project with
the metal band or industrial band, who would be a
dream pick?

Speaker 2 (58:41):
Man? Man, you know, I'm going to be honest with you.
I just want to be open here. But as you
say those words, man, like a huge part of me
just wants to control the music as well. But not
because I want to write the song, but I want
to do the I want to do the music videos
for the songs that I love, you know, like that
I that all exists and I want to and I

(59:02):
want to curiate, can you? I mean? You know Chris Cunningham,
uh may made that movie Rubber Johnny for Aphex Twin
you know, yeah, Richard James, and you know he turned
that into a film, you know, like a short film.
It's a long short film and a short film, you know.

(59:22):
Uh And I would love to do that with hm hmmm.
I would. I would love to do it to old
ministry tracks. Man, you know, I fuck, I hate to
hate to be cliche. I hate to go back to
just like my you know, my comfort food. You know.
It's like it's like I have to admit to everyone
my favorite film is Alien. You can see it from

(59:43):
a thousand fucking kilometers away, like and so it's it's easy.
It's like such a fucking low hanging fruit. But yeah,
it would be like an old ministry track like man,
even man, I I wrote some like films and uh,
you're not supposed to do this, but you know, if
you're a writer director, you can do. You can get
away with a better And I would just write specific
tracks at play, like you know, burning Inside begins to

(01:00:06):
play at this moment, you know, yeah, just find it
so fucking And I listened to all the remixes, like
every existing remix I have the OLPs, I have every
fucking CD and listen to every remix of one of
those tracks and just chew on them and imagine desolate
landscapes and just get excited about that shit.

Speaker 4 (01:00:24):
So yeah, ocky dude, Okay, So this one, I don't
know if you can share too much about this. I
think they talked a little bit about a comic con.
You would probably know because you were there.

Speaker 3 (01:00:33):
Today.

Speaker 6 (01:00:33):
I think that might have heard something like that from today.

Speaker 4 (01:00:36):
But I had to ask you because we're huge Alien
Predator fans in this room, seeing as you've worked on
both Alien and Predator franchises. There is speculation online that
twentieth Century is planning an Alien Versus Predator reboot. Is
there anything you can share or hint at regarding those rumors?

Speaker 2 (01:00:52):
So I heard some things, man, but I'm gonna I'll
be able to tell you not as someone who's worked
on those films. Just from a distance, I can just
tell you that there is enthusiasm from a couple of
filmmakers to have a crack at that. I don't.

Speaker 1 (01:01:08):
That doesn't mean it's really coming.

Speaker 2 (01:01:09):
It just means it's almost like me talking to friends
where they've said, man, this would be a great job
to do, and I feel like I would do it well,
you know, So I could say that. But in terms
of the slate of shit coming up, like I mean,
I mean, everyone you know Romulus two got announced, I'm
not like I haven't. The FDA is still writing that movie,

(01:01:32):
and if I am on it, like I'm very confident.
I mean, it's the conversations of protaking place. But I'll
be very fortunate if I was to get the band
back together and be on that project, because it was
an absolute dream. But you know, and then of course
the predatorviies. It's just like Furio so manly, like you
go to man, the studio is so fickle, man. They

(01:01:54):
are so receptive to streaming numbers. Obviously it used to
be box Office. You know, they're very fucking sensitive to it.
And and if you know, if bad Lands, if bad
Land hits, then a whole new world will open up.
You know. If it doesn't, then it will go back

(01:02:15):
to maybe releases by streaming, maybe go back to box office.
You don't really know, you know, you can't tell, and
you know it's from my side of things, man, like
someone who loves those stories. And you know, I've got
a Predator story I would love to tell, you know.
I yeah, fuck man, I'm very excited about that, but

(01:02:36):
I can't. Man. I was like, I would love to,
but I actually I would. I would actually, And I
do angle when I'm when I hang out with Disney
fucking people, I get my clause in straight. Look, man, Ian,
I caught I caught it with producers from Mombhouse and
and just essentially and just said, look, look, I'm a.

Speaker 1 (01:02:55):
Great filmmaker, you know, and but I just want to be.

Speaker 2 (01:02:58):
Able to like it's it's tricky, man, because you know,
they want to invite creative vision, but they're also very
scared of that because it could be a little it
could be a little risky, you know what I mean.

Speaker 1 (01:03:10):
So anyway, I'm going back to Aliens and Predators.

Speaker 2 (01:03:14):
Yeah. Man, So in terms of the slate, you've seen
the trailer for bad Lands, you know that there's that
there's that crossover with Romulus, you know. I when I
read the script, I was just like, fuck man, Like
it's all out there now because the trailers has made
it really obvious. But I was like, wow, this is
a faux this is a faux.

Speaker 1 (01:03:31):
Alien Verse Predator movie.

Speaker 2 (01:03:32):
Like it's a very it reminds me of the Dark
Horse comics, where like a lot of like fun shit happens,
you know, like they try things out. Now, as a
Predator fan, it's a little it's a little hard to
kind of I got to see that as like a
little you know, as a little pleasure cruise, you know,

(01:03:53):
like they want to be something a little different and
try something out. But I for me, man, the Predator
was supposed to be scary the first one, you know,
like it's supposed to be a villain that we all
of course loved him because of that. But when you
change that context, it's a little less. It's just very different.
It's just very different, and I hope it goes well
for for fucking for me, for everyone that likes to

(01:04:16):
work on those films, because then we get to do
more of them. But you just can't tell, you know, Furiosa,
when we're on Furious and everyone just said, oh, when
the next one goes, when the next one goes? And
I was like, dude, fucking buckle up, man, because there's
every chance that even if this movie is fantastic, fucking
no one will watch it. Maybe you don't know, You've

(01:04:36):
got to you've got to be aware of the fiscal
component to this, to this arena, because it is so dude,
it's it's all about money, sadly, like it just is.
So you know, Yeah, that's why from the Yeah, that's
for me, I just lean into original projects for myself
when it comes to getting truly excited. Like, don't get

(01:04:58):
me wrong, man, I love what I do and I'm
on it that I get to be a part of it,
and I always try to inject, try to inject something visceral,
something unique, as far as I can see. But in
terms of getting truly excited and especially in the realm
of where AI has begun to really register its place
in that arena, I just need to make films, you know.

(01:05:20):
That's that's where it really is gonna work.

Speaker 3 (01:05:22):
Yeah.

Speaker 4 (01:05:22):
Yeah, So I wanted to talk a little bit about
Alien Rodmulists because a little bit more because it's just
like I said that that's been one of my favorite
like horror movies in a very long time. And I
was so surprised by that movie because the Alien the
Alien films were kind of i mean struggling a little
bit amongst the fan base. It seemed, you know, it
just seemed like, yeah, with Prometheus to kind of like
polarize the fan base a lot, and you know, I

(01:05:43):
have the movie a lot. I was waiting for like
Alien Covenant, but then you know, we're all waiting for
that third one, and I don't know, we just ended
up going with Alien rodmuin list. I was like, I
don't as a fan and in interacting with fans online,
just everyone's kind of confused about that move, and then
it comes out. We're like, holy shit, this is fucking dempler,
this is amazing. So I just kind of watch you

(01:06:03):
to talk a little bit more about Alien. Rymerless see
that you're ring out of the public's love of the franchise.
What what other pieces of that movie were you a
part of? What other as far as like creature designs
and all that. I know you said you were part
of the chest Burser. What else were you doing?

Speaker 2 (01:06:19):
I just said a commentary for with the enough with
it was just with with the fan community, with the
Alien Verse, Predator guys, the Alien Best Predict Galaxy. But
I went through it, and you know, I mean I
was so lucky. I just got to touch everything. Part
of that was Fade was very distracted making the film,
so he wouldn't give me feedback, and I would get frustrated.
I'll be like, fuck, did I miss the mark? Like

(01:06:40):
did I fuck this up? And man again, I treat
Alien like I'm doing something. Holy. I feel like I'm
an altar boy getting to serve the priests, you know,
and I'm really fucking gonna serve the funk out of
them and so so so you know, I take it
very very very seriously, like and I get in all
about it and daunted and and so I like, I

(01:07:06):
uh uh, When I would do a drawing and it
wouldn't be well received or I'd get no feedback, I
I perceived that as a form of torture. I get
very frustrated and I'll write emails that I wouldn't send
to anyone. I would just fucking vent, you know. Uh.
And what I did was anytime I'd work on something
that I got asked to work on and I didn't
get any feedback, I'd just jumped straight onto something else
in the script that I liked. So that's how, you know,

(01:07:28):
that's how the cocoon came around. That's how the the
X ray machine.

Speaker 7 (01:07:33):
Like I had a crack at that, and uh man,
it's and.

Speaker 2 (01:07:38):
Pretty much man that that kind of you know, that
kind of I forget what the word is, where you were,
where you independently apply yourself to something. You know that
that that kind of attitude fucking goes a long way.
And creating well like Bad Lens was like that too.
Like the production designer was very kind of relaxed, and

(01:08:01):
so if anything, if I was drawing something and I
wouldn't hear feedback, I'd immediately start on something else from
the script that I thought was awesome, and I go
I would pretty much be like, look, I know you
asked for this, so here's this. But then I also
had a crack at that, so there's that. And so
in Romulus, the so obviously the face huggers, I did
so many different versions of those I was excited about.
Maybe it was excited about maybe because they were done

(01:08:23):
in a lab that they'd be way more deliberately humanly engineered.
So I tried a couple where there was like recognizable
engineering patterns, you know, not so much organic, like as
much as I love the organic stuff. So face Huggers,
the chestburster, the fucking the cocoon on the wall, the
asteroid xenomorph obviously, but you know, Legacy Effects took that

(01:08:44):
and made it. And then the offspring of course as well,
which again Legacy took. I mean I must have done maybe,
I like, I hope I'm not exaggerating, but I don't know.
I must have done nearly fucking eighty drawings of that
creature before the composed of it went into it, you know,
and and Fader was really leaning into the juvenile aspect

(01:09:04):
of it at one time, where you see it as
like a teenager. So it's got to look like it's
got to look kind of like soft, which was hard
because it was I felt so stupid, man. I was
like giving it like big ears, big nose, and soft eyes.
I'm like, fuck, this is so close to the Newborn
in Resurrection, which I was super afraid of. And then
of course I did that. There was that hypothetical version

(01:09:25):
of what their creature would evolve into, which had wings.
I don't know if you saw that.

Speaker 3 (01:09:28):
But yeah, crazy.

Speaker 2 (01:09:30):
Yeah, yeah, And that was me like desperately trying not
to be shit, you know, desperately, like I was actually nervous.
It was actually, oh, fuck, if this goes in and
it's approved and it looks like a cunt, everyone's gonna
go this guy did it. He's a fucking idiot, you know. Like,
so I was nervous about that. But you know, of
course in the end they didn't use it, so that
was kind of cool. But yeah, so that as well

(01:09:53):
as I'm trying to think, man, because there's a couple
of like abstract little things that I tried the X
ray machine. The I had a couple of cracks at
the romulus and remus. Uh, it was going to be
a triptich or. It was going to be three images,
and I'm pretty proud of those two. I did some
some cool stuff. It was like a wolf chick with
the titties out and the kids are sucking on the titties,

(01:10:15):
like you know, and and I kind of like, you know,
like I try to. I try to. I try to
make it metal, really man. I try to make it
like it's an album cover, like try to make it interesting.
And and that's like we're doing the cruise shirts as well.
Like I got into the habit of doing that a
couple of years ago. Like while I'm working, I'll start
scribbling on cruise shirts and it just so happens that
they generally are pretty well received and they become the

(01:10:36):
cruise shirts and so and all of that. I mean,
you can look on my Instagram and you can see
that the one I did for Weather with a face
hugger and its tongue fucking the skull from the back,
like it's just a it's like it's like something you'd
see on a skateboard in the eighties, you know, and
it just looks like all those metal covers that I
loved when I was a kid. So yeah, yeah.

Speaker 4 (01:10:54):
Actually, so when when I first reached out to and
I you said you were down to do this.

Speaker 3 (01:10:59):
I talked to the guys.

Speaker 4 (01:11:00):
I showed Hondro and one of the first things you said,
I think I'll show you one of the chest Bursters
And You're like, does.

Speaker 3 (01:11:05):
He do cover art? Yeah, this looks like cover art,
this album covers.

Speaker 6 (01:11:09):
Honestly, Like, have you ever been approached by like Kenny.

Speaker 2 (01:11:12):
Bann or Yeah? Absolutely, man, Yeah, yeah, many times. Yeah.
So there's there's a couple out there, and you know
there's a you know that you know, Devin Townsend.

Speaker 3 (01:11:21):
Yeah, he's a big fan.

Speaker 2 (01:11:24):
Yeah, okay, cool. So you know when it was, when
it was DTP, he was in the Dramer Ryan van Preud,
he has another band called in Monolith, and so I
went with him and at that time I think, fucking
don't quote me, man, but it had Christian Old you know,
the Fear Factory guy Wolbers, Christian fuck Man, one of

(01:11:48):
the Fear Factory guys. Yeah, yeah, Fear Factory guy, Beave
Wattle was from another band I can't remember. The singer
is the guy from Threat Signal. He's a nice guy.
And as I did all the artwork and everything like
every every LP, every sorry, every EP and every album
color so for them, and then also the guys from
in Flames really love my work as well. It's particularly

(01:12:10):
beyond that. Yeah. Yeah, so when they when they come.

Speaker 10 (01:12:14):
To town, that's that's fucking cool because they just get
to just like hang out.

Speaker 2 (01:12:19):
Very fucking cool. But you haven't done any artwork for
them yet, but you know, there's you like you you
end up. I don't know. I'm very fortunate man that
people that people care about my work. And if you
were to ask me before, I was like doing like
creatures and shit like that if what my dream job
will be, it was like, fuck, man, I would love
to do like a machine Head album cover or something

(01:12:41):
or you know, like that's that's what I wanted to do.
So at this point, though, man, I have to say,
I'm very fucking like no one cares, No one cares,
but I really like my photography and I kind of
do it for myself and I feel like everything I
do again is with a mind to turn it into
some kind of album cover. And I am really only

(01:13:02):
photographed dead animals, like I love, love, love love my
dead animal collection. And so yeah, these days, man, when
I get asked to do album covers, I try to pitch.
I'll just go, man, look, I can do some drawings
for you, absolutely, but I really feel like this would
be quite beautiful, and I would put together like a
pitch of some of these some of the photographs that
I do, and then sometimes they go for it, sometimes

(01:13:23):
they don't. And man, I've I worked for this guy
in Italy. I did some album covers for a fucking
uh oh man. It was a it was like godflesh.
It wasn't godflesh, but it's music like godflesh. It was
like very post post human, you know that fucking it's industrial,
but it's not like sludge industrial, you know, like very punishing,
you know, author and punisher like that sort of stuff. Anyway,

(01:13:45):
and where the guy fucking stiffed me on dollars, you know,
So I was a bit sour, like I was, and
I was doing it for cheap anyway, like because to
help I like to help musicians out there. They're remind
me of me. It's my other life, you know, so
I do it like kind of cheap. I'm a little
fucking apprehensive at this point, but so the answer to
the question is kind.

Speaker 4 (01:14:05):
Of yeah, well, uh, we'll probably, I mean because I
know we've talked about it, but yeah, we we I
showed the rest of my band you work too, so
maybe I don't know, we'll see.

Speaker 3 (01:14:15):
But he loved it. He was like, straight up like
cover art this is awesome, ship like.

Speaker 6 (01:14:19):
An awesome Is there any I know you mentioned like
album artworks? You know that we grew up and you
know that we like love. Is there any artworks or
album covers that kind of like are in your top
or or when you're listening to the music and you
were staring at that like CD, you know what I mean,
and you're just imagining stuff in your head and this

(01:14:40):
cover is kind of creating this theme. Is there any
your favorite or come to mind?

Speaker 2 (01:14:47):
Yeah. Man, it's gonna sound so fucking cliched, but it's
all the nine eh nail stuff. Man, like that that
to me, And I'll tell you why. I'll tell you why, right,
it's not because like, don't get me wrong, like all
accountab stuff. It's all very cool.

Speaker 1 (01:15:01):
I would draw it a little differently anatomically.

Speaker 2 (01:15:04):
Some of that ship doesn't sit right with me. It
goes against what I've got to do, you know what
I mean, It doesn't it's not it's not that it's
it's not as refined as I would like it to be. However, uh,
nine its Nails represents a cleanliness that I always fucked
up as an artist coming up right. Everything I did
was like super detailed and so labored and so anal

(01:15:25):
and contrived and get lost in details that are irrelevant.
And I resented that about what I do, like I
resented my and I man, I stopped drawing for a
long time because I was just like, I'm so shit
at this, I'm so fucking bad at it, and I'm
and I'm sick of feeling this rejected and uh and
but then when I when I you know, you really

(01:15:45):
sit with like the downward spiral and further down the
spiral and fragile and fucking and the remixed albums and
and all of that stuff, and just that the cleanliness
of that decay, like it's decayed. It's dark and rusty
and eat but it's clean and it's uh, it breathes
and I, well, I was not like that, you know,

(01:16:07):
and I and I fucking hated about what I do,
so I would. I still I have that. I have
the Ghosts, the special edition of Ghosts that has that
huge book in it, you know, and and just digest
those photographs, you know. And that was one of the
things that inspired me to get a camera and camera. Honestly,
nothing has lifted my work more than buying that. It

(01:16:29):
was such an incredible and critical part of what I
do now is like, my reference library is unique only
to me.

Speaker 1 (01:16:36):
I know, no one.

Speaker 2 (01:16:37):
If you Google image search the fucking the lungs of
a toad and the fucking bubbles and the nitty gritty details,
you can't find that ship. You can't. But I have
an extensive library of it because I'll find toads and
and cut them up and photograph that ship, you know,
And I love it. I love it. That's where I

(01:16:59):
get as close as I can to that nine inch
nalzy kind of vibe. Yeah, man, yeah, And I love
my mom.

Speaker 3 (01:17:06):
Yeah, really smiling the ear to ear right now.

Speaker 10 (01:17:09):
He's like, yeah, I collected animals and Joe's I have
a couple of frogs and toads.

Speaker 2 (01:17:14):
Oh sick man, Yeah, that's pretty so man, I got
into the habit of approaching, like, I'll approach hunters here
if I see them. If I'm in the bush and
I see a roo hunter, I'll go, hey, listen, man,
if you shoot a roue and it's got a like
a newborn Joey, and it's an unborn Joey or an
unborn anything unborn. So we got these little so yeah,

(01:17:35):
Australia's full of marsupials. Right, So we got this little
guy called a bandicoot. And I fucking love bandicoots as
an animal. It's a little carnivorous, fucking like guinea pig.
So a long snout with sharp, angry teeth, right so,
so like a carnivorous guinea pig. And it makes this
little sound when you freak them out, right, this little
fucking honking sound. One time I was I saw a
dead one on the road at night, so I pulled

(01:17:56):
over and fucking grabbed. I was sweet, you had a
dead bandicoot, bill pressure from he's a newborn. It was dead,
and I was like, fuck, that's gorgeous, man, So I
took it home. It was in the middle of the night,
so I took it home, put in the freezer, waited
until the morning, took it out. Then I took it
down to the beach and fucking skinned it and photographed

(01:18:16):
all the parts I took out and photographed the fuck
out of the babies. And then what I'll do with
the juveniles or anything that's fleshy and wet that I
want to keep fleshy and wet, I'll just get a
methlated spirits and just dump it into this fucking thing
of methleated spirits and preserve them. And then then what
I love to do, right is take them out of
that solution and let the alcohol evaporate from it, and

(01:18:37):
the flesh will desiccate, and then you have a like
a faux mummy, you know. And it's gorgeous. It's fucking gorgeous,
and I love it. I first did it, man, when
I found a believe it or a baby rabbit. He's
called a kitten ironic because cats fuck rabbits up all
the time. But I found a clutch of them. I
found a fucking the adult must have been scared or

(01:18:59):
some ship at the I found a clutch of these
baby rabbits now I try to keep them alive. They're alive.
I try to feed them, you know. But I tried
in my best like I was in my early twenties.
I didn't have access to the internet until I was
fucking older, and so I had no idea what I
was doing. So they eventually they died, and I had
no idea what to do. And I've just fucking my
parents were big drinkers, so I just found a bourbon
of bottle of bourbon, and I knew that alcohol was

(01:19:20):
going to preserve it, right, So I just fucking stole
a bottle of bourbon, and I put the babies into
the thing and I just kept it. Now the bottle
I didn't I didn't put the lid on properly, right,
so they the alcohol evaporated slowly over time, and all
that was left is like this fucking soup in the
bottom of these these fucking uh these kittens, these baby rabbits,

(01:19:42):
and uh, I fucking love them. Then, Like they got
the tiniest little fingernails, the most deformed faces, and they're
all hunched over and and they were amazing. And that's
when I first that's when I first made pieces, was like, oh,
fuck man. I love wet specimens, but not while they're wet.
I like getting them wet and and then letting him desiccate.
And don't I've never fucking talked to anyone else about it.

Speaker 1 (01:20:03):
I don't know anyone else, but uh, you.

Speaker 2 (01:20:06):
Know, I love it. I love it. So there you
got it. Yeah.

Speaker 10 (01:20:09):
I have a couple of frogs, and like they're old.
I think like the old. The frog I've had the
longest for is like probably fifteen plus years. And yeah,
most of the alcohols like kind of disappeared, so half
of it it's like like dry, and half.

Speaker 3 (01:20:22):
Of it it's like wet.

Speaker 2 (01:20:23):
Still.

Speaker 10 (01:20:23):
That's crazy, yeah, man, Yeah, actually, oh go ahead, bad No,
I've end.

Speaker 2 (01:20:29):
Up talking this whole fucking time. Man, you place gut.

Speaker 3 (01:20:32):
Oh don't know.

Speaker 10 (01:20:33):
I was saying like I was actually tripping out. Like
the biggest frog I got is an African bullfrog. I
had that thing for like twelve years. Man, that thing's huge.
And the way it's drying up right now, it's so
fucking cool. I'm gonna have to take a picture and
send it to you.

Speaker 2 (01:20:45):
Sick man. Yeah cool, yeah, absolutely, I am on fury Road.
Like if like most of those skulls were my skulls.
So they were like, oh, we need to rent a
bunch of skulls and we need to get all this
dead ship. And I said, well you could, you could.

Speaker 1 (01:20:57):
Just use my collection.

Speaker 2 (01:20:58):
I go the only the only deal I want is
I want all of the molds back, you know, which
they didn't fucking come good on. But anyways, but from
the wombat skull and I can raise the color staring
wheel And my pet dog was a was a little
staffy search she's in the war rig fucking a couple
of my dogs throughout that movie. But man that I

(01:21:19):
had this big toad that I caught and then it desicated.

Speaker 1 (01:21:23):
When it died, I desiccated it.

Speaker 2 (01:21:24):
And it was one of my favorite, like dead animals,
my absolute favorite. And it disappeared. And then years later
I was having dinner at the production designer's house and
it's on his fucking wall. He pinched it. He loved
it so much he pinched it, and I was like,
you motherfucker, like that that is my frog. Man, I
wouldn't I wouldn't know it like anywhere. He's like, oh, well,
you're gonna have a back if you want to go. No,

(01:21:45):
it's in the It's in its right place. Man. You
got it all right. Uh.

Speaker 3 (01:21:51):
Is there a director you haven't worked with that you
would love to?

Speaker 2 (01:21:56):
Yeah, I'll see. I want to. I want to test
my metal and go up against Fincher, you know, like
and see if he thinks I've got any artistic fucking credibility. Uh.
You know, when tw twenty thousand Leagues under the Sea
was getting going, they contacted me and go of Fincher
wants to work with you, and I said, yeah, that's cool. Uh,
but that never happened. And if you remember the Sony
Links fucked that up back.

Speaker 3 (01:22:17):
Oh yeah, oh yeah.

Speaker 2 (01:22:18):
So him, you know, Paul Verhoven. I don't know how
he go. Now. He's a pretty old dude, but I
would love to work with him. He's uh in his heyday,
especially like if I could, if I could fucking harness
a little bit of that insanity, I feel like that
would be a really special experience. John mealyus too before
he's like he's very old now like he's you know,

(01:22:38):
post stroke and all that sort of ship. It would
have would have been cool to work with him. Coppola
would love to anyone from the you know, from that
era where they all got together and would watch each
other's movies and criticize him, you know, George Lucas and
Spielberg and fuck men. Just just I just feel like
that's like the fucking an enclave of creatives that they

(01:23:03):
care about the product, they care about, they care about it.
Just having the utmost impact any one of those guys
in the heyday would be fantastic. I'm working right now.
Oh fuck man, I'm trying to think. Man, Like, I
kind of feel like I'm on the spot because I
get excited about who I want to work with. You know.

(01:23:29):
Oh man, maybe I will keep talking if when comes
to me, I'll flag it.

Speaker 4 (01:23:35):
Yeah, got you, got you Yeah, paulver Hope And so
like I think the image of a because of the
robo cop, right, like just the idea of like the
mal the dude melting, just that Oh yeah, I dude.
I was born in eighty eight, so I saw that
moviehen I was like three or four, and that was
like like that, I know that movie came out before,
but like when I was a little kid, I remember
still I'm showing me rubbo cop and I was like,
what the fuck is that? That can happen to people.

(01:23:57):
And just that image of the car ramnuy that didn't
uttering everywhere. That image has haunted me for fucking like
thirty plus years. Dude, fulmar formative, yeah uh and starts
with Troopers. I love that fucking movie, dude. Oh yeah,
one of my all time favorites. I still watch it.
Me and my brother we used to just quote it
all the fucking time. And I could definitely see like
you're working very well in a Paul ver Homan movie.

(01:24:18):
Like I don't know, Like when you mentioned that, I
was like, yeah, I fucking locked it in. Just like
as a if I was a producer, I'd be like, yeah,
that or that dude with this due this would be awesome.

Speaker 1 (01:24:26):
Oh yeah, yeah yeah, yeah fu thank you man. That's
that's a great great on it.

Speaker 3 (01:24:30):
To hear that, yeah, that'd be sick. So this is
the last one I have for the night.

Speaker 4 (01:24:35):
What is and this is only if you could talk
about a little bit, what is the film project coming
up in the future that you can't wait for people
to see that you can talk.

Speaker 2 (01:24:42):
About man, stuff that I've worked on. I had a
lot of fun on the second Modal Kombat movie, and
I had lunch with that producer and he said that
that was one of his like a point of pride
for him.

Speaker 1 (01:24:53):
He was that he thought of that movie is gonna
be great.

Speaker 2 (01:24:55):
So kind of excited for that to come around, you know, obviously, Look,
I mean we haven't started on on Romulus, but obviously
know nothing about it. But that's something that you know,
if that goes ahead, if I'm lucky enough to be
a part of that, I'm already excited about it. I'm

(01:25:17):
sure you'll eventually see. I mean, I had a fucking
furious turnaround on the last one, so maybe you'll do
the same again. Yeah, I did. I did the most
recent Godzilla movie. I worked on that, but there was
I mean, I didn't get to do anything super cool
on I did interesting stuff, but and fuck man, what else? Man?

Speaker 1 (01:25:38):
I should look at my IMDb.

Speaker 2 (01:25:41):
I'm currently working on, uh, Spaceballs, the second space Balls movie.
Fucking way I'm trying to do.

Speaker 1 (01:25:53):
I'm trying to do some fun ship on that.

Speaker 2 (01:25:56):
And what's the other thing I'm working on at the moment,
Man street Fighter as well. Wow, street Fighter Move Jess
and Mom's in it, and Bison's being played by David
dastmal chain and uh, yeah, man, but next time, I'll

(01:26:18):
only be honest with you, man like, because this this juncture,
what will happen is I'll do work and uh. Either
they'll take it and they might feed it to AI
to get some different versions of stuff, or they may
present they may present me with AI or can you
do something like this or EXTRAPAA later on this? And
oh man, I just did. I'm just working on that

(01:26:40):
on a new Insidious movie.

Speaker 3 (01:26:43):
Oh okay, so I can't.

Speaker 4 (01:26:44):
I had this question while you were explaining when they
were saying that, you were saying that the leader said
you like AI, so some AI for you to be like, oh,
design something like this. When So when when you're working
on films, do you find out if your if your
art makes to cut right away or do you find
out like later on when the movie comes out, Like

(01:27:04):
how does that work in the industry for you?

Speaker 2 (01:27:10):
You get a you get a pretty reasonable instinct, get
a you get a pretty reasonable.

Speaker 1 (01:27:16):
Instinct, but.

Speaker 2 (01:27:18):
You can't tell. So the directors may have seen something
and they just go, oh man, this is the fucking
greatest thing in the world. You know, this is this
is this is going to go straight into the movie. Yeah,
and so you know, you know at that point that
it's gonna work. But other times you kind of fucking
like you know, you know, like that big creature with
the wings from Romulus, Like Beta was really precious about
it and very very into it, and and that process

(01:27:42):
was a long process. So I thought, yeah, man, well
that was a hard tought victory and we got.

Speaker 1 (01:27:46):
It in the end and he was happy and I'm happy,
so that's cool.

Speaker 2 (01:27:48):
And then watched the movie at the premiere and it's
not even in there. I was like, oh fuck R.
So sometimes you get taken by surprise and then other
times you get a good instinct, you know, you know,
it's a it's funny. Yeah, it's a yeah, you can't
tell me, you can't tell true?

Speaker 3 (01:28:03):
All right, and you got do you guys have anything
else to bring the table? I'm curious do you like
slasher movies?

Speaker 2 (01:28:13):
All right? Slashes an interesting arena for me, man I
overall I'm gon saying no, Okay, like the concept of
a man hunting someone else to the attack, It's just
not as supernaturally like exhilarating for me.

Speaker 1 (01:28:31):
Right, But I still really like Halloween.

Speaker 2 (01:28:33):
You know, I'll still watch Jason movie here and there
and that, but those guys lean lean towards like fucking
stupid slashes. Do you know what I mean?

Speaker 1 (01:28:40):
Where's like a real slasher like you know.

Speaker 2 (01:28:44):
Uh talking about like fucking jeez, I don't know, man,
like this that one that just came out like like
two years ago or a year ago called the Nature
Violent Nature, the most Violent Nature. Yeah, you know, m
They're like that, that's a real that's a real slash movie.
And again I didn't mind that because it was like
it had an old to it. But uh, it's not
my go to, man, it's not my go to you know.

Speaker 1 (01:29:07):
I love monsters and ushole people.

Speaker 2 (01:29:12):
They're not as interesting to That's all nothing against people
who like it, and you.

Speaker 1 (01:29:17):
Know, if it's on I'll probably check it out.

Speaker 2 (01:29:19):
But for the most part, I wanted to have not
necessarily a supernatural edge, but an other worldly edge.

Speaker 3 (01:29:28):
Gotcha, gotcha? Gotcha?

Speaker 2 (01:29:30):
I mean I'm assuming, I'm assuming you're a big slash
you guy, Is that right? Yeah? Right now?

Speaker 10 (01:29:34):
When I seen, uh, when we were calling you, you
had like a picture like I don't know what you
were standing next to, but it reminded me a lot
of like Texas Chainsaw, Massac.

Speaker 2 (01:29:42):
Revibes, Fuck, I love checks, I love That's what I love.

Speaker 10 (01:29:47):
I love the other face dude, so like it really
reminded me of a lot of that. I was like,
oh maybe he folks was uh you know.

Speaker 2 (01:29:53):
Yeah, no, no, yeh see again. But see he's how
he's so fucking freaked out, like you know, yeah, but
that that's.

Speaker 1 (01:29:59):
That mean he's kind of sacred.

Speaker 2 (01:30:01):
It's kind of special. Yeah, but no, I mean that
head is from that movie Haxel Reach that Mel Gibson directed.

Speaker 1 (01:30:10):
Yeah, yeah, playing with their bodies old time.

Speaker 6 (01:30:13):
Nice, you know, just what you were talking about about,
Like the whole it has to be evil, it has
to be you know, like a certain feel like I
feel like I've seen that sometimes portrayed on live shows,
you know, like production I remember I've when I saw
Behemoth last you know, they had a like really like
all the vibe like dark, ungodly you know, if you will.

(01:30:37):
Is there any like live show like productions that like
I don't kind of like stood out to you.

Speaker 2 (01:30:43):
When the last time in Flames were here, they came
out with creator and creator had I was backstage, but
it was it was Yeah, and so it was fucking
cool anyway. But they had like that huge inflated like
devil over the thing, you know, reminds me of it
reminds me of Spinal the Simpsons. I suppose we salute

(01:31:06):
you a half inflated dark lord.

Speaker 4 (01:31:09):
We salute you are half inflated dark lord book.

Speaker 2 (01:31:18):
But yeah, that was pretty cool, like stage kind of presentation,
you know, and of course everyone like the goat really
is is Ramstein? Yeah? Live stage shows, like I saw
Till come out with a fucking bow and arrow and
he shot like a laser into the crowd and it
started a fire. I was like, is this is this

(01:31:40):
fucking experience? And you know, it was great, Like like
I kind of outgrew like Ramstein. It became a little
too friendly for me. But you know, I remember that.
I think this was in ninety nine when I saw that,
and I remember it just being like fucking sick dude and.

Speaker 1 (01:31:55):
The chip Chip come out.

Speaker 2 (01:31:58):
We're doing cartwheels, fucking racles coming out of shoes and
it was wearing a mirrored vest, a mirrored trench coat
that that will catch fire. And again, you know, because
you work in films that I'm pretty familiar with practical effects,
you know, so you know, I know what goes into
that ship. It's someone that's really fucking complicated and clever.

(01:32:19):
So yeah, that's cool.

Speaker 4 (01:32:22):
So the so the very last question, I said that
a few minutes ago, but we usually do this at
the end of the episode just for like listeners tuning
in who curious about your work but don't probably aren't
as into metal, because like I said, we are metal
related podcasts. Are there any metal albums that you would
recommend to somebody who's just getting into it for the
first time.

Speaker 1 (01:32:44):
What a fucking great question, by the way, all great questions.

Speaker 2 (01:32:46):
Then it's has been such a fun podcast, man, this
is so great, a little a little bit.

Speaker 1 (01:32:52):
Of gateway going on to someone.

Speaker 2 (01:32:54):
You know. I used to recommend the Burning Red, you know,
from Machine. I used to go, like, cause it's got
you know, you can bitch about that being like a
commercial album. Sure, I see what you're talking about, but
it's dark man like broke. When you think about that
song Devil with the King's Card, and that is that's

(01:33:25):
a that's a slow, driving, heavy song. You know, that's heavy.
It's heavy in all the ways it has to be.
But it's got great rock hooks, you know, And I
guess that's how it got me. And that's how that's
how I got in there man, and the blood and
was sweating and its and and uh, you know that
song silver as well. Again, it's like it's just like

(01:33:45):
a really fucking great rock song. And so yeah, man,
if I was trying to pop someone's cherry and they
were a little, you know, a little rocky to start with,
I might go that route. Another really fucking weird one
I found back in the day was, you know, Slipknots
debut is. It's a fucking monster. It's an absolute monster
of an album. But it transcends, man, you know, it does.

(01:34:08):
It transcends. And I don't know how the fuck they
did that because they're not traditionally poppy tracks. They don't.
It's not like you can overlay tracks from It's not
like you can overlay tracks from the from the self
titled and put it over a fucking Britty Spears song
and it will fit in because the beats the same.
It won't. It's unorthodox, it's challenging, it's chaotic, it's fucking
it's everything a.

Speaker 1 (01:34:29):
Great metal album needs to be.

Speaker 2 (01:34:31):
And fuck. I mean you have people with soft sensibilities, gone, wow,
what a great trunk. You know, God, man, those who
are the first two albums Iowa. You know again, man,
it's easy to take for granted. It's easy to look
at them and just go fucking middlemand. No, man, those
first two albums, man, like that's that's like they were

(01:34:51):
charting albums with blast beats. Yeah, that happened. That was
a real thing. So you could be cynical as much
as you want. Joey was a fucking one stuff. Yeah,
any any track off Iowa is such a fucking that's
a true metal It's an actual It's on a sell
out metal album.

Speaker 1 (01:35:11):
It's actually true. Well it's subliminal versus then.

Speaker 2 (01:35:13):
You get a little little butt rocky you know in there.
But you know, yeah, but you know, I look like
they gave me what I needed, man, and I and
I'll take that and walk away. You know thato're supposed
to album. I can put it on right now and
just and still just be blown away. Just want a
fucking Wright album?

Speaker 3 (01:35:29):
Yeah, yeah, I love that you brought those.

Speaker 4 (01:35:31):
I love you brought machine heads, uh Bernie red on
and then slim Not because I still say I said
on this podcast many times, Iowa to me is the
greatest metal album ever written. I know everybody has their opinions,
but when I think, what does angry sound like?

Speaker 3 (01:35:44):
What does anger sound like?

Speaker 4 (01:35:45):
Fucking Iowa like you just popped the bottom as a masterpiece,
and Bernie Redman like Desire to Fire is still on
my play That's that's my gym playlist right there, Desire
to Fire. And I'm so happy you brought up that
album too.

Speaker 2 (01:35:59):
Damn.

Speaker 4 (01:35:59):
It's it's been awesome having you on here. Man, this
is so cool. We've had a blast. I know these guys,
these two have been predominantly quiet, but they're just listening
to like your stories and and you know, artistic descriptions
and everything.

Speaker 3 (01:36:11):
I know. Rudy's a huge slipknot fancy you have one
of the masks, right?

Speaker 2 (01:36:14):
Yeah? Yeah, I have the.

Speaker 10 (01:36:17):
Clown Iowa mask, my favorite mass favorite favorite eraror.

Speaker 2 (01:36:21):
You bought like you've got the replica or you have
the mask?

Speaker 10 (01:36:25):
Uh No, I have like a replica that I've had
literally since like two thousand and two. So that thing's
like old man, it's starting to you know, to ride away.
But I've kept pretty good, taking pretty good care of
it though.

Speaker 2 (01:36:39):
Oh cool, man, I I still man like the first
album man Iowa Boss as well, like still connected to
such a sacred place in my heart and I could
still go to that being enchanted by just the mystique
of all of that stuff and this like that. It's
like watching tastes change of mask. It's something you feel
like you shouldn't.

Speaker 1 (01:36:57):
Be allowed to do.

Speaker 2 (01:36:59):
And yeah, and and and the fact that you get
to do it feels like you're you're operating inside of
some restricted area. It's fucking what a delight, great taste, guys, excellent,
thank you, helly guys.

Speaker 4 (01:37:10):
Well Dan, it's been awesome. We had a blast. It's
been awesome, you know. Yeah, is there anything else like,
because I'm like, I'm all out, Like, I fucking.

Speaker 6 (01:37:19):
I feel inspired as hell.

Speaker 3 (01:37:20):
I got to go write a song now.

Speaker 1 (01:37:24):
Oh thanks man, thanks so much for having me.

Speaker 2 (01:37:26):
Guys.

Speaker 1 (01:37:26):
It was a fucking it's great.

Speaker 2 (01:37:28):
This is the first time I've ever done anyone, done
any one of these where we're just really talking about well,
music being the main sort of spine of everything, and
I love to be able to have a shorthand where
you talk about musicians and you know, and and know
that you guys know who I'm talking about. Is it's
really nice.

Speaker 3 (01:37:48):
We got to have you on again.

Speaker 4 (01:37:49):
We got we got to bring you on again in
the future because this was too fun.

Speaker 3 (01:37:52):
Awesome man, yeah, man.

Speaker 1 (01:37:54):
Yeah, whenever you want. Yeah, we'll make it up.

Speaker 2 (01:37:56):
Cool. Cool.

Speaker 4 (01:37:57):
Where can our listeners or viewers find your arm work?
Where can they connect with you on social media?

Speaker 2 (01:38:03):
Yeah? I'm pretty active on Instagram and trying to reply
every now and then, you know, like, and I quite like,
you know, I get pretty.

Speaker 1 (01:38:11):
Positive your actions for people there. It's pretty good.

Speaker 2 (01:38:12):
And I just launched a new website as well. I'm
pretty sure if you just search for Dane how it
will come up that the the sort of the Monica
went on there was the Scarier So if you look
at the Scarier dot com, we'll find me. But I
mean just you know, if you google me, you you'll
find ways to contact me or to care you know,

(01:38:34):
uh yeah me personally, I'm you know, hopefully again, I'm
just leaning into making films, so hopefully we'll have some
shit going soon, very more Dane like stuff. Have you
guys seen my short film at all?

Speaker 4 (01:38:46):
No, I haven't I didn't notice I got to your IMDb.
I wanted to. It's been a train wreck of a
week for us, like it's been with comic com coming
up and it's been o pan But yeah, definitely we're
gonna watch it tonight. I'm gonna pop up with some
grand mal I'm gonna go check it out. So I'm
looking for to it.

Speaker 2 (01:39:00):
Man.

Speaker 1 (01:39:01):
Hell yeah, turn the lights up and turn the music. Man,
I'm very proud of that.

Speaker 4 (01:39:05):
Yeah, definitely definitely. Well man, oh yeah we will. We'll
simply do that.

Speaker 3 (01:39:09):
Dan.

Speaker 4 (01:39:09):
It's been a pleasure man, And we gotta hit you
on soon. We gotta have you come back on very soon.

Speaker 2 (01:39:14):
Man.

Speaker 1 (01:39:14):
Yeah, you got it man, anytime. Thanks so much.

Speaker 2 (01:39:16):
Time you guys, I'll see you.

Speaker 4 (01:39:20):
So that was a blast. That was a fun ass episode,
Dane stand up guy. He just felt like one of
the one of the homies, Like yeah, definitely, he.

Speaker 6 (01:39:30):
Felt like felt like he was like, dude, we're the same,
like you know, obviously not the same, but like the
visionary kind of like music and art and the intermingling
between both of those, like like he's I don't know,
I just felt like the whole when he was talking
about like evil like aur and vibing kind of fixation

(01:39:51):
on that and like no positive like music wise. You know,
it's like I feel like, you know, I feel like
that sometimes, you know, I don't want to hear I
just want to hear brutal evil gris ship.

Speaker 10 (01:40:02):
So uh yeah, when he said that, I'm like, uh yeah, honestly,
that's Alex.

Speaker 3 (01:40:08):
That's Alex.

Speaker 10 (01:40:09):
When he wants to listen to metal, it has to
be dark and evil.

Speaker 3 (01:40:12):
And you know that what I thought was cool about
this episode.

Speaker 4 (01:40:15):
It felt less like and yeah, I mean even if
this was like this would have been really cool either way.
It felt less like we're interviewing somebody and more like
this is just a cool dude that you made at
a party and you just start talking with him and
you're like, oh shit, cool. That's that was the vibe.
Like we're just all with like kind of hanging around
the beer cooler and this guy rolls up and we're like,
hey man, let's talk with you, and he's just like

(01:40:37):
telling stories after stories after stories, and I thought this
is this was also really cool for our podcast because
we're a metal Central podcast, so to have somebody from
the film industry who's also a metal head come in,
talk about his expertise that maybe, like a lot of musicians,
metal heads probably don't know a lot about, and introducing
them to the filmmaking world, which I'm a huge fan of.

(01:40:58):
You guys know me, I'm a big film buff. You know,
you to Hondre and you know Rudy you you as well,
not so much you because you're more about hen Ti,
which is fine. Well, eventually we'll get We'll get a
Henti artist on the podcast at some point.

Speaker 3 (01:41:13):
But we absolutely had a blast.

Speaker 4 (01:41:14):
I could just see, like many times I'm looking at
you and I'm you're the smile on your face.

Speaker 10 (01:41:18):
Yeah, towards the end when you started talking about you know,
the taxi well not necessarily taxidermy, but the wet specimens
and the photography, I don't know he did photography, dude, Yeah, yeah,
you know that really, like because I've taken pictures of
dead animals do but I'd never post him a show
them or anything, you know, but I guess, you know,
it felt nice to hear that I'm not the only
one also like that is into that ship. And when

(01:41:40):
he said that, all, dude, that's fucking cool exactly for sure.

Speaker 3 (01:41:44):
So Dane.

Speaker 4 (01:41:45):
If you're watching, thank you so much, you guys. We
hope you guys enjoyed this episode. We had a blast.
I know that for us, there was a lot of
behind the scenes kind of like nerve wracking going on
behind the scenes about the software was gonna.

Speaker 6 (01:41:57):
Work, nervous the whole time. I'm still like, I'm still
coming off of it, you know, just uh yeah, I
was definitely taken back, like it was just talking to
the homie, you know what I mean. Definitely got along
on a lot of the subjects and everything, so felt
at home.

Speaker 3 (01:42:12):
Good cool, you guys.

Speaker 4 (01:42:14):
Make sure to subscribe to us here on YouTube, follow
us on Spotify, follow us ample podcasts wherever you listen
to podcasts. Where you watch podcasts, check our show out
and we have some more awesome guests. I know I
teased it at the top of the episode, but I'm
not gonna jinx it again. Yeah, but we're really looking
forward to the next guest. I'm really looking forward to
the next guest. So hopefully that gets cemented in down

(01:42:35):
and we're able to give that out to you guys.
But we have some banger episodes coming up and can't wait.
Thank you so much and we'll see you guys on
the next episode of Middlogy

Speaker 2 (01:43:07):
Of Dish.

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Dane Hallett Interview | Concept Artist Talks Metal Music Influence on Alien & Film Design

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Dane Hallett Interview | Concept Artist Talks Metal Music Influence on Alien & Film Design