May 8, 2023 • 12 mins
We start minute 116 with Maintenance Tommy Thee and ends with Purchaser Luis Benavides.
The “Planet of the Apes” is kicked off in only the way Tim Burton can kick off a franchise, by adding Dirk Diggler to the world of apes!
Facebook @MinuteOfTheApes
Twitter @MinuteOfTheApes (Shows post but no interaction here because Elon Musk sucks)
Email: podcast@minuteoftheapes.com
Website: https://www.minuteoftheapes.com/
http://moviesbyminutes.com/
https://www.zeuscomics.com/
http://divebarboombox.com/
New Podcast: Jeff & Todd Make a Movie
“Antibody” by Chris Williams (shorturl.at/ctNY4)
The “Planet of the Apes” is kicked off in only the way Tim Burton can kick off a franchise, by adding Dirk Diggler to the world of apes!
Facebook @MinuteOfTheApes
Twitter @MinuteOfTheApes (Shows post but no interaction here because Elon Musk sucks)
Email: podcast@minuteoftheapes.com
Website: https://www.minuteoftheapes.com/
http://moviesbyminutes.com/
https://www.zeuscomics.com/
http://divebarboombox.com/
New Podcast: Jeff & Todd Make a Movie
“Antibody” by Chris Williams (shorturl.at/ctNY4)
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Hey everyone, It's Todd and I'mJeff. We're two lifelong friends who decided
we want to make a movie together, and I wanted to let everyone know
we're actually starting a podcast as wellthat's going to tell all about the struggles
and the triumphs and the lessons thatwe've learned along the way during the movie
making process, from writing the scriptto finding the cast, to shooting the
scenes and editing the final product.You, the listener, will have behind
(00:22):
the scenes access. Plus along theway, we'll be interviewing industry professionals to
get their take on the whole processas well. So if you've ever wanted
to make a movie on your own, this new podcast is for you.
Make sure to head out to yourfavorite podcasting delivery service and look for Jeff
and Todd make a Movie and hitthe follow button. On today's Man of
(00:44):
the Apes. There will be noreferences to urinary erections about Hello and welcome
(01:34):
to many of the Apes. Thedaily podcast where you talk about every minute
out about one minute of time,and Sean goes ahead and finds a way
to talk about I told you Iwould not say that I cannot say pe
voner. So that's just a youknow, we may sound professional when we're
actually having a podcast. Our conversationsoff micro take a little bit of a
detour. We started the in betweenbecause we inevitably would devolve into bullshitting between
(02:00):
the episode, and it was like, oh, we should record these,
Oh we'll make it a special episode. However, Sean can go down the
urinary tract of hell faster than anyone. And it's not that we don't have
anything on this podcast we can't say. It's just that if there was one
thing we can't say, it wouldbe Sean that said it. Would you
agree with that, Richard? Yes? So so listener, Pole, we
(02:23):
would like to know whether you standor sit when you sit Pole, because
that was the conversation we were justactually know. It was a do you
close the door to go to thebathroom conversation? Especially what is your spouse
expected? And then then it morphedinto do sit or stand when you be?
Yes? And it's the age oldconversation of men. My mother in
(02:45):
law even once said, you know, no real man would sit when he
peas. I'm like, why whydoes it have anything to do with if
I'm a man or not? Well? I you know, that we have.
I remember, I visually, notvisually, I do remember when people
actually use their zippers, just there'szippers alone, and said, and I'm
I have to, I can't,I can't, I have to, I
have to unbutton my pants. Idon't. I don't see how that was
(03:07):
it. But wait are you?But then, but maybe it's because I'm
not wearing boxers. If I werewearing boxers, but then you also had
the people that unbutton their pants andthen pull them down a little bit.
I have to tell you one time, when I'm a kid, and I
was probably I was, I wasa teenager right high school, and when
you when you're in the band andyou're trying to all the new stadiums and
whatnot, you know, and especiallylike back in the eighties, some of
(03:28):
his bathrooms they would have like thepiss trough. Yeah. I walked in
one time into the bathroom, andI did not like my band director.
And I literally disliked him even morewhen I walked in and standing at the
trough, not only were his pantsaround his ankles, his underwear were two
and his bare asses and I'm like, who stripped your ass down? I
(03:51):
mean, that is what a threeyear old does It's like, oh my,
I literally walked in. I waslike, I got a pee and
I left, all right? Thatwent right back up? It did.
I was like, I don't haveto back into your body, all right?
That is weird. Desperate for thingsto talk about as we attackle some
more Christal between, we're actually don'thave a week Togo a minute one sixteen,
(04:13):
Shaun tell us where we start,where we end? We start a
minute when sixteen with maintenance by Tommyth and end with purchaser Luis Benevez.
All right, hair comes one sixteen. Yeah, we're rolling and we got
the funky music though the Tony gdid the ape makeup supervisor want I want
Toddy age. That's what Abby's toldme, that my grandkids are gonna call
(04:38):
me a totty toddy. I'm like, okay, So let's see. Mark
Wahbert got his own makeup artist.Everybody else just got one one. Uh,
the hairstylist for Miss Bottom Carr andLisa Marie. Now we're getting into
the recording and how sad Mark Waldenbergwas the only athlete actor have his own
(04:59):
makeup artist. I mean, Iguess in a costumes because they would have
had special effects. You know what'sfunny is I realized this is we play
this back. No, I canbe playing any minute of any music that
I wanted to and you wouldn't know. Yeah, hey there's a Todd Christ
always looks the same anyway he does. But he's also greatness. Um,
yeah, there are a lot ofpeople. Some of these people. Look,
(05:26):
hey, they got work and theygot paid. That's even a bad
film. Okay, point somebody pointout the impossibility of making a film,
The fact that, first of all, we'd come up with an idea and
you write it down, and thenyou write that down and somebody else goes,
hey, I think that's a goodidea, and then the studio buys
it, and then a studio putsa director to it. And the fact
that even that just happens, andthen you cast people, and the fact
(05:47):
that that happens, and then thefact and you make the movie and yet
it and you put out there andall the movies that aren't made because this
one's being made. I mean,the fact that a movie gets made at
all is pretty spectacular. I thinkI've talked about this before that Shelley and
I, you know, Shelley doesn'thave any dog in the hunt as far
as a movie maybe how many scriptsare bought and just put aside. She
(06:09):
doesn't have anything to do with anyof that outside the fact that I love
it so much. And we'll talkabout what you know when you bring in
a director ahead of it. Youknow, I'm like, the director makes
all the choices. They can't makeevery choice. I'm yeah, they do.
They put the people in charge ofit that make that choice and they
know what they're looking for, sothen that's their job to flag it.
So you look at how that's thetotality of a film where I'm like,
(06:32):
you can have this, that's that'sa mishmash mistake. Some choices were made
incorrectly and not looked through. Idon't remember when I was watching, but
they were talking about the traits ofa good leader is not always knowing the
right answer right, but knowing whenyou hear the right answer right. So
you know that's why you put youmight not be the smartest person in the
room, you put the smartest peoplearound you that you can. I say
(06:56):
it all the time that leading myband is a lot like this too,
because you've got I've got five ofthe people that are playing music with me,
and they know what I want tohear. But I have to let
them go be creative and create whatthey want. And my job is simply
not to look at you, Shangayet don't do that. It's what if
we tried this and always give themthe opportunity to you to find that where
it fits. And I think that'sa good director in this situation, is
(07:18):
like, yeah, but are webeing clear? And they're asking these critical
questions that we've asked throughout this.Where's the clarity in this? How does
this make sense? Where are wegoing? What's the tone of this?
Is Marky Mark going to breathe inthis? You know? And I think
that those are some of the questions. How much kissing is they're going to
be in this thing? Yes?And I think we get to the end
this film, maybe some of thosequestions weren't asked. We have the Drapery
(07:41):
forman, We have the Drapery gangboss, the head seemstress, the upholsterer,
the set dressing coordinator. We havethe additional second second assistant director,
assistant to misters An assistant, MisterBurton, assistant mister Winter assistant to mister
Wallberg. Then we have the listof accountants. I guess my question for
a film like this, do allthese people just basically kind of come and
(08:03):
go from one project to another,or do they work for a studio and
they get credited because they were partof this film? Like I'm not saying
accounts did not do a good jobfor this film because they need that,
but were they specifically hard for thisand they just rolled the next product because
that would project because that would makeme so nervous as a as a as
an account They usually do that,and they're usually tied to different production companies
and things like that. But themakeup artists are going to be whoever the
(08:26):
makeup lead is. They bring teamswithin them are people they plug in like
that so real quick, I lookedup gang Boss where that is and relative
to a movie, and they workwith a construction crew of a movie,
making sure everything on the second it'sbuilt the way it should be. And
they're also known as a construction foreman. But in my Google search at the
side it said crime boss is arelated thing, and then it said mob
(08:50):
Boss characters. My mob box charactersare Vito Corleone, Michael Corleone, Tony
Montana and Job of the Hut.Okay, but I like it. I
know, I'm fascinating the fact thatthey use the word drapery in front of
it. That's just kind of interesting. It's you know, credits are always
really weird. Who gets listed.I mean it used to be so slim.
(09:13):
It was the cast, the director, music, some of the main
you know, makeup and stuff likethat. And now you'll get when we
have seven everything this maybe and youlist every visual effects artist, you list
the caterer, you list the allthe legal team. Yeah, I don't
know what the how many manute?When did they get to the trash collector
the garbage people that work in theoffice that where do you cut off?
(09:37):
Where does it begin to use?Like, okay, we're just adding attacking
team. Two people wanted for thiscredit. Well. One of the things
that I get asked a ton too, being a film freak, is what
is the best boy? And bestboy comes? Apparently there's no you can't
really find like this is definitive theorigin. But they hired a gaffer who
is the electrician, and they turnedto him and said, why don't you
bring your best boy to help you. So that's the ga as assistance.
(10:01):
What that sounds feasible but also incrediblycan ben? Yeah? Yeah, And
what's the grip? Well, agrip is the person that comes and holds
my wiener. But you know,you get those questions over and over,
but you're right, at what pointdid did we go from having a lot
of these credits at the first ofthe film to now everything is tacked on?
(10:22):
Then you still might see there aresome people that are bringing a production
designer, cinematographer, those kind ofthings like heads of the departments, but
you don't see that as much anymore. You know. One of the last
films I can think that really didthat was was that seven that had that
long credit sequence where it did allthat kind of in it, But the
thing was it sets the mood forthe film. Sometimes when you do that.
(10:46):
I can't remember what it is.But there's a movie recently that they
put the entire credits at the beginningof the movie, so that made sure
people saw it and then the movieplay. Well, you know, they
talk about the fact that they wantyou know, I wouldn't say shorter movies,
but I want to trim movie lengthto try and keep to turn it
quickly to the theater connect you canshow more times. Yeah, things like
that, And it seems like thiswould be a very obvious thing. And
(11:07):
we've got like seven minutes of credits. Would be a great place to actually,
you know, you got paid forthe gig. You're an accountant.
We don't really need to list youas a credit of the film. It's
going to be these these core groupof people. Again, not knocking the
accounts, I'm just picking up anyany particular. Yeah, I found like
the counting firm of so and soand so so would be enough of a
credit in the situation. So Ican understand a special effects artist because I'm
(11:28):
seeing their work on the screen.Right. However, then, you know,
do you really need to screen creditingthe accountant the screen work of the
caterer exactly though? They're an integralpart of it. You know, you
can't forget to feed people every day. Yeah, it's it's part of it.
I don't know if there's anything elseto say to this. We got
to do this four more time,toys. I've got some things that I
(11:50):
can at least introduce into the comingepisodes that we'll talk about and I think
in the last one we've got totalk about a little bit about where we
think we're going. We also haveto do our summation of where this ranks
in your films. Maybe let's dothat tomorrow. Let's talk about where this
fits in the films and whatnot.We'll go from there. How's that sounds
sounds great. That's eleven minutes oftalking about credits and what they are and
what they aren't. We'll be backtomorrow. Everyone, have a great day.
(12:11):
Bye bye, everybody.
Hey everyone, It's Todd and I'mJeff. We're two lifelong friends who decided
we want to make a movie together, and I wanted to let everyone know
we're actually starting a podcast as wellthat's going to tell all about the struggles
and the triumphs and the lessons thatwe've learned along the way during the movie
making process, from writing the scriptto finding the cast, to shooting the
scenes and editing the final product.You, the listener, will have behind
(00:22):
the scenes access. Plus along theway, we'll be interviewing industry professionals to
get their take on the whole processas well. So if you've ever wanted
to make a movie on your own, this new podcast is for you.
Make sure to head out to yourfavorite podcasting delivery service and look for Jeff
and Todd make a Movie and hitthe follow button. On today's Man of
(00:44):
the Apes. There will be noreferences to urinary erections about Hello and welcome
(01:34):
to many of the Apes. Thedaily podcast where you talk about every minute
out about one minute of time,and Sean goes ahead and finds a way
to talk about I told you Iwould not say that I cannot say pe
voner. So that's just a youknow, we may sound professional when we're
actually having a podcast. Our conversationsoff micro take a little bit of a
detour. We started the in betweenbecause we inevitably would devolve into bullshitting between
(02:00):
the episode, and it was like, oh, we should record these,
Oh we'll make it a special episode. However, Sean can go down the
urinary tract of hell faster than anyone. And it's not that we don't have
anything on this podcast we can't say. It's just that if there was one
thing we can't say, it wouldbe Sean that said it. Would you
agree with that, Richard? Yes? So so listener, Pole, we
(02:23):
would like to know whether you standor sit when you sit Pole, because
that was the conversation we were justactually know. It was a do you
close the door to go to thebathroom conversation? Especially what is your spouse
expected? And then then it morphedinto do sit or stand when you be?
Yes? And it's the age oldconversation of men. My mother in
(02:45):
law even once said, you know, no real man would sit when he
peas. I'm like, why whydoes it have anything to do with if
I'm a man or not? Well? I you know, that we have.
I remember, I visually, notvisually, I do remember when people
actually use their zippers, just there'szippers alone, and said, and I'm
I have to, I can't,I can't, I have to, I
have to unbutton my pants. Idon't. I don't see how that was
(03:07):
it. But wait are you?But then, but maybe it's because I'm
not wearing boxers. If I werewearing boxers, but then you also had
the people that unbutton their pants andthen pull them down a little bit.
I have to tell you one time, when I'm a kid, and I
was probably I was, I wasa teenager right high school, and when
you when you're in the band andyou're trying to all the new stadiums and
whatnot, you know, and especiallylike back in the eighties, some of
(03:28):
his bathrooms they would have like thepiss trough. Yeah. I walked in
one time into the bathroom, andI did not like my band director.
And I literally disliked him even morewhen I walked in and standing at the
trough, not only were his pantsaround his ankles, his underwear were two
and his bare asses and I'm like, who stripped your ass down? I
(03:51):
mean, that is what a threeyear old does It's like, oh my,
I literally walked in. I waslike, I got a pee and
I left, all right? Thatwent right back up? It did.
I was like, I don't haveto back into your body, all right?
That is weird. Desperate for thingsto talk about as we attackle some
more Christal between, we're actually don'thave a week Togo a minute one sixteen,
(04:13):
Shaun tell us where we start,where we end? We start a
minute when sixteen with maintenance by Tommyth and end with purchaser Luis Benevez.
All right, hair comes one sixteen. Yeah, we're rolling and we got
the funky music though the Tony gdid the ape makeup supervisor want I want
Toddy age. That's what Abby's toldme, that my grandkids are gonna call
(04:38):
me a totty toddy. I'm like, okay, So let's see. Mark
Wahbert got his own makeup artist.Everybody else just got one one. Uh,
the hairstylist for Miss Bottom Carr andLisa Marie. Now we're getting into
the recording and how sad Mark Waldenbergwas the only athlete actor have his own
(04:59):
makeup artist. I mean, Iguess in a costumes because they would have
had special effects. You know what'sfunny is I realized this is we play
this back. No, I canbe playing any minute of any music that
I wanted to and you wouldn't know. Yeah, hey there's a Todd Christ
always looks the same anyway he does. But he's also greatness. Um,
yeah, there are a lot ofpeople. Some of these people. Look,
(05:26):
hey, they got work and theygot paid. That's even a bad
film. Okay, point somebody pointout the impossibility of making a film,
The fact that, first of all, we'd come up with an idea and
you write it down, and thenyou write that down and somebody else goes,
hey, I think that's a goodidea, and then the studio buys
it, and then a studio putsa director to it. And the fact
that even that just happens, andthen you cast people, and the fact
(05:47):
that that happens, and then thefact and you make the movie and yet
it and you put out there andall the movies that aren't made because this
one's being made. I mean,the fact that a movie gets made at
all is pretty spectacular. I thinkI've talked about this before that Shelley and
I, you know, Shelley doesn'thave any dog in the hunt as far
as a movie maybe how many scriptsare bought and just put aside. She
(06:09):
doesn't have anything to do with anyof that outside the fact that I love
it so much. And we'll talkabout what you know when you bring in
a director ahead of it. Youknow, I'm like, the director makes
all the choices. They can't makeevery choice. I'm yeah, they do.
They put the people in charge ofit that make that choice and they
know what they're looking for, sothen that's their job to flag it.
So you look at how that's thetotality of a film where I'm like,
(06:32):
you can have this, that's that'sa mishmash mistake. Some choices were made
incorrectly and not looked through. Idon't remember when I was watching, but
they were talking about the traits ofa good leader is not always knowing the
right answer right, but knowing whenyou hear the right answer right. So
you know that's why you put youmight not be the smartest person in the
room, you put the smartest peoplearound you that you can. I say
(06:56):
it all the time that leading myband is a lot like this too,
because you've got I've got five ofthe people that are playing music with me,
and they know what I want tohear. But I have to let
them go be creative and create whatthey want. And my job is simply
not to look at you, Shangayet don't do that. It's what if
we tried this and always give themthe opportunity to you to find that where
it fits. And I think that'sa good director in this situation, is
(07:18):
like, yeah, but are webeing clear? And they're asking these critical
questions that we've asked throughout this.Where's the clarity in this? How does
this make sense? Where are wegoing? What's the tone of this?
Is Marky Mark going to breathe inthis? You know? And I think
that those are some of the questions. How much kissing is they're going to
be in this thing? Yes?And I think we get to the end
this film, maybe some of thosequestions weren't asked. We have the Drapery
(07:41):
forman, We have the Drapery gangboss, the head seemstress, the upholsterer,
the set dressing coordinator. We havethe additional second second assistant director,
assistant to misters An assistant, MisterBurton, assistant mister Winter assistant to mister
Wallberg. Then we have the listof accountants. I guess my question for
a film like this, do allthese people just basically kind of come and
(08:03):
go from one project to another,or do they work for a studio and
they get credited because they were partof this film? Like I'm not saying
accounts did not do a good jobfor this film because they need that,
but were they specifically hard for thisand they just rolled the next product because
that would project because that would makeme so nervous as a as a as
an account They usually do that,and they're usually tied to different production companies
and things like that. But themakeup artists are going to be whoever the
(08:26):
makeup lead is. They bring teamswithin them are people they plug in like
that so real quick, I lookedup gang Boss where that is and relative
to a movie, and they workwith a construction crew of a movie,
making sure everything on the second it'sbuilt the way it should be. And
they're also known as a construction foreman. But in my Google search at the
side it said crime boss is arelated thing, and then it said mob
(08:50):
Boss characters. My mob box charactersare Vito Corleone, Michael Corleone, Tony
Montana and Job of the Hut.Okay, but I like it. I
know, I'm fascinating the fact thatthey use the word drapery in front of
it. That's just kind of interesting. It's you know, credits are always
really weird. Who gets listed.I mean it used to be so slim.
(09:13):
It was the cast, the director, music, some of the main
you know, makeup and stuff likethat. And now you'll get when we
have seven everything this maybe and youlist every visual effects artist, you list
the caterer, you list the allthe legal team. Yeah, I don't
know what the how many manute?When did they get to the trash collector
the garbage people that work in theoffice that where do you cut off?
(09:37):
Where does it begin to use?Like, okay, we're just adding attacking
team. Two people wanted for thiscredit. Well. One of the things
that I get asked a ton too, being a film freak, is what
is the best boy? And bestboy comes? Apparently there's no you can't
really find like this is definitive theorigin. But they hired a gaffer who
is the electrician, and they turnedto him and said, why don't you
bring your best boy to help you. So that's the ga as assistance.
(10:01):
What that sounds feasible but also incrediblycan ben? Yeah? Yeah, And
what's the grip? Well, agrip is the person that comes and holds
my wiener. But you know,you get those questions over and over,
but you're right, at what pointdid did we go from having a lot
of these credits at the first ofthe film to now everything is tacked on?
(10:22):
Then you still might see there aresome people that are bringing a production
designer, cinematographer, those kind ofthings like heads of the departments, but
you don't see that as much anymore. You know. One of the last
films I can think that really didthat was was that seven that had that
long credit sequence where it did allthat kind of in it, But the
thing was it sets the mood forthe film. Sometimes when you do that.
(10:46):
I can't remember what it is.But there's a movie recently that they
put the entire credits at the beginningof the movie, so that made sure
people saw it and then the movieplay. Well, you know, they
talk about the fact that they wantyou know, I wouldn't say shorter movies,
but I want to trim movie lengthto try and keep to turn it
quickly to the theater connect you canshow more times. Yeah, things like
that, And it seems like thiswould be a very obvious thing. And
(11:07):
we've got like seven minutes of credits. Would be a great place to actually,
you know, you got paid forthe gig. You're an accountant.
We don't really need to list youas a credit of the film. It's
going to be these these core groupof people. Again, not knocking the
accounts, I'm just picking up anyany particular. Yeah, I found like
the counting firm of so and soand so so would be enough of a
credit in the situation. So Ican understand a special effects artist because I'm
(11:28):
seeing their work on the screen.Right. However, then, you know,
do you really need to screen creditingthe accountant the screen work of the
caterer exactly though? They're an integralpart of it. You know, you
can't forget to feed people every day. Yeah, it's it's part of it.
I don't know if there's anything elseto say to this. We got
to do this four more time,toys. I've got some things that I
(11:50):
can at least introduce into the comingepisodes that we'll talk about and I think
in the last one we've got totalk about a little bit about where we
think we're going. We also haveto do our summation of where this ranks
in your films. Maybe let's dothat tomorrow. Let's talk about where this
fits in the films and whatnot.We'll go from there. How's that sounds
sounds great. That's eleven minutes oftalking about credits and what they are and
what they aren't. We'll be backtomorrow. Everyone, have a great day.
(12:11):
Bye bye, everybody.
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