George, Spielberg, Hollywood discussed on Gilbert Gottfried's Amazing Colossal Podcast
We showed him conventions at all. And they're done this different way where everything's much more spatial. You're like looking at a room. You're not like looking at the figure looking at the whole space and seeing people around, and I thought it was really neat. So, but I wish that Foote's were still around. Because his neat to see those movies, especially CASA wizard of Oz some wizard of Oz. And in three D it's been done since I got to see this. I know you I I am aware. Now, I remember watching Swen I saw house of wax in theater there. Devil. Oh, yes. Wasn't that the double feature one? I director Andrei tools, right? Of course. No Schwartz mysteries of Hollywood made. To is. In Hollywood brilliant, hired of one hydrate. But I wouldn't member those early three d when you'd watch look at a room of the actors, and it's like, you could see depth, but you every figure looked fled. It looked like a pop-up card. It looked like you could go into the room. But that all the actors were cardboard cutouts. Note you mean, that's even true of some of the movies now, they still shot in three d. Yeah, I agree. What do you think that's part of the future? Dennis that. No. I I mean, eventually I, but I don't think so it had a good chance. A lot of the problems. They had in the fifties and sixties they got rid of with digital. So now, there's almost like no excuse because you can see it on the set and they never used to. And but but I don't think people are thinking about it as much and under really is the story that is like a trick. But it's Sorious home portent. Then is what did you work at the shop in van Nuys when you were working Star Wars. So can you tell me a little bit about that? Because that is sort of a pilgrimage that I do once a year usually go drive do drive by where that used to be. I took my kids there. Whenever young I'm like, this is important this building right here too that that's where they blew up the deaths versus likely tell me tell me about that. What was it like? Well, it was it was when I start. Are there was mostly an empty building the model? Shop is going. There was some cameras being started. There was stages were kind of empty going on yet. And it was like a bunch of like hardly anybody over thirty five and most people about thirty or younger a lot of people from Long Beach state from the industrial design group that John Dykstra who was setting it up and gone to school in and hired friends, and France, so not many film people at all. And it didn't really so much matter because it didn't seem like it because George have the ideas and the storyboards are being done and everything. So it was it was fun place. And I didn't quite fit in because I was too serious about it. And they were they were like racing cars motorcycles on the weekends and stuff this really important, and I really respect it. And all but it wasn't who I was. So I I didn't have as much fun because I was too worried about how the hell gonna get this movie done. Right. And we. Have barely did. Responsibilities at that time working on the film. You know, I was called second cameraman Richard Ellen was being doing a lot of the stuff that I was shooting nighttime shooting as much as I could in the daytime the second camera. So I shot a lot of the trench. A lot of the the big battle shots that are the ships flying around. But there was so much that we we, you know, spread them among ourselves, and George was in there couple times a week he'd fly down from northern California say the for two days and go ver all the shots for the rest of the time with us and everything and we got along really well, George idea, I think we'd I think we had a shared vision. That's true of everybody. I've worked with you know, if I've got a shared vision with like, well, it's like Spielberg comes up, and he says, you know, this sky in in a we want this alien creature at the end of AI. I want him to look like that guy from man from planet x and I say, yeah, I know what you mean..