View Details

Brad Fiedel wrote one of the most recognisable pieces of music in film history, and he did it on a drum machine, a sequencer and a keyboard chained together with a computer ribbon cable, before MIDI was really a thing. The famous lurch in the rhythm is him hitting a button by hand and deciding the wobble was better than the fix. Years later Henry Mancini rang up wanting to record it with a big band, and the man writing the lead sheet couldn't work out the time signature.

There is a lot more to Brad than Terminator, and that's really what this conversation is about. He grew up inside his parents' school of the arts on Long Island, his dad a jazz musician, his mum a modern dancer who studied with Martha Graham. He spent years improvising live for dance classes, which turned out to be exactly the muscle a film composer needs, though nobody told him that at the time. He nearly signed to Columbia. He played keys for Hall and Oates in 1974 and jammed with the band that became the E Street Band. He was working with Arthur Miller and Vanessa Redgrave before James Cameron ever called.We get into temp tracks and why he never did his best work against one, when a scene is better off with no music at all, the direction Cameron gave him on the canal chase in T2, and the moment after the True Lies sessions when a small voice told him he was finished. These days his regular gig is writing musicals with first graders in Santa Barbara, and he's very clear that he gets as much out of it as they do.

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

Episode 152: John Goodson (Part 1)

John Goodson is a model maker and digital artist who spent more than three decades at ILM. His credits span The Rocketeer, Star Trek: First Contact, the Star Wars prequel trilogy, Rogue One, and most recently The Mandalorian and Grogu. In this first of two episodes, I talk to John about his lifelong obsession with spacecraft and model-making, how he got to ILM, what the model shop was like at its peak, and the craft philosophy that has defined his career. In this episode:
* Growing up obsessed with Lost in Space, Star Log, and the making-of books that shaped his ambitions * Writing letters to ILM at age 14 — and getting politely told to stop * How a childhood friendship and a homemade recreation of the Battle of Hoth eventually led to his first visit to ILM * The advice that sent him back to finish school — and why it was the right call * Getting hired for one week on Body Wars and spending the first three days hiding in the model shop hoping nobody would notice * What the ILM model shop culture was like at its peak, and what he absorbed from Bill George, Lorne Peterson, Larry Tan, and the rest of that team * The 18-foot Titanic model for Ghostbusters II and learning to just start building * The 33-foot Hindenburg for The Rocketeer — eight months of construction, a night shoot at a decommissioned Air Force base, kerosene running out of the holes, and a cherry picker at 25 feet * The pasta trick, pancake syrup, and other unexpected materials that found their way into ILM shots * Watching the digital wave arrive and feeling like parts of the machine were being taken away * The transition to digital model-making and eventually finding his footing with Mari * What it felt like to return to physical model-making for The Mandalorian — and what was hardest about working without the model shop around him * The mechanical language of spacecraft: why weathering works, what Star Crash got wrong, and the disposable camera exercise that taught a kit-bash class to see the real world differently * How the Razor Crest started as a 3D-printed assembly that couldn't survive construction — and what he did about it

Part two is coming soon...

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

Ian Hunter has spent four decades building miniatures, supervising visual effects and thinking like a filmmaker on some of the most demanding productions in Hollywood. In this episode, he traces a career that began in a garden shed with a punched-up piece of German black velvet and ended up — via James Cameron, Tim Burton, the Coen Brothers, and Christopher Nolan — on some of the most iconic screens in the world.

Ian grew up surrounded by art. His father painted oils and acrylics, played music and did pastel portraits, and encouraged his three sons to make things — even when those things destroyed the materials he'd given them. The moment that really clicked, Ian recalls, was being handed a model kit as a kid and taking to it immediately. That creative instinct only grew stronger. In high school, he and his brothers were making Super 8 films, scratching laser effects onto the film with a pin and blowing up overloaded resistors for explosions. One of those films required them to fake-rob a local bank — and the encounter that followed, with the surprisingly enthusiastic vice president of the Monrovia Wells Fargo, led to a meeting with the mother of Rick Baker, whose work Ian had recently encountered in a traveling special effects exhibition and been completely floored by.

After drifting away from an aerospace course at Cal Poly Pomona and working in an acid bath plastics factory, Ian answered a classified ad looking for model makers — and on the strength of a modest portfolio, was hired the same day. His first feature was The Abyss. He and fellow model maker Jim McGee built the flooded engine room of the Montana submarine with almost no direction beyond James Cameron's bare-bones description, and shipped it to South Carolina having never seen a frame of the live action. The production was not without its disasters — Ian found himself entangled in the notorious wax crane fiasco, and talks about the valuable early lesson of knowing when to call something out before it goes wrong.

From there, a friend pointed him toward Boss Film, Richard Edlund's company in Marina del Rey, where a chance encounter with departing model supervisor Mark Stetson changed everything. What was supposed to be a one-week favour on a music video turned into six years. Working with Stetson took Ian from being a junior model maker building things in isolation to visiting sets, talking directly with directors, and understanding that miniature work only succeeds when it becomes invisible — just more shots in a movie, telling the story rather than showing off the technique.

Among the projects from that period, Ian talks at length about Total Recall — including the behind-the-scenes chaos of a scale miscommunication on the final day of shooting, a scene involving a little person that nobody had accounted for, and the moment he glued a Coke can to a model building because they were running out of time. That Coke can, dressed up and shot from the front, made it into the finished film. So did one in Waterworld. And Inception. And Interstellar. And, after the story apparently got around, director Fede Álvarez greeted Ian on Alien: Romulus by asking exactly where he was planning to hide it.

Ian built the suburb for Edward Scissorhands — deliberately making it more bland and mundane than real life — and talks about one of his proudest in-camera shots: the final view through the bedroom window and out over the snow-dusted neighbourhood, achieved with a 1:24 scale model and real snow shakers on the night. On Batman Returns he built the Penguin's zoo, and describes receiving one of his all-time favourite compliments from Tim Burton — who, after watching a pyrotechnics test, asked simply: "Where did you shoot this?" Not realising he was looking at a miniature. The zoo also gave Ian one of his best examples of a happy accident: a polar bear sculpture that was supposed to explode but instead toppled slowly sideways with flames coming out of its feet. Tim Burton loved it. The entire subsequent engineering challenge was figuring out how to recreate the mistake.
On the X-Files movie, Ian and his partner Matthew Gratzner built a collapsing federal building on a tight budget, referencing Oklahoma City bombing photographs for the detail of damaged concrete and exposed floors. The late Roger Ebert reviewed the finished film and said the sequence should have been cut — because it was too reminiscent of real tragedy. Ian reflects on that as a marker: they'd gotten past the technique and into the emotion.

The conversation turns to Christopher Nolan, with whom Ian has worked across multiple films. Ian describes Nolan as collaborative but definitive, someone who discusses a shot in depth and then tells you exactly what he wants. He talks about the liberation Nolan offered on Interstellar when he told the crew to stop following the previs — pre-vis is just a guy at a computer on a Friday trying to get the shot out the door, Nolan told them; if you can see a better angle, do that instead. The result was that the miniature crew started shooting faster, and a number of shots that had been planned as digital moved across to the physical side. Ian also describes the meticulous sun-angle calculation that went into matching the Inception hospital sequence — setting up models in a parking lot at a precisely calculated skewed angle to hit the exact quality of light that had been captured in Calgary on a specific date.

On First Man with Damien Chazelle, Ian had drawn storyboards before the first meeting proposing a documentary approach — cameras attached to the spacecraft, nothing sweeping or cinematic, everything either very close or very wide as if shot from another ship. Chazelle walked in and described exactly the same idea. They spent twenty minutes together going through the sequence, working to an animatic cut to music, and Ian went off and shot it. That shorthand — that moment of being in sync before the conversation has really started — is something Ian describes as central to how he has survived in an industry where so many practical effects houses have not. He's a model maker, yes. But more than that, he's a filmmaker.

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this episode I chat with visual effects supervisor, second unit director and digital pre-visualisation pioneer David Dozoretz about a career that traces the entire arc of how modern filmmaking shifted from analogue to digital — and how, somewhere in the middle of that shift, pre-vis went from a curious side experiment to a fundamental part of how films get planned and shot.

David talks about growing up in Phoenix, falling in love with cinema the day his sister snuck him into the projection booth at the Cine Capri during The Empire Strikes Back asteroid sequence, and how a chance encounter with a Lucasfilm coffee-table book in a university bookstore set him on the path to ILM. He arrived at ILM in 1991 as an intern, became known as "the computer nerd in the art department and the art nerd in the computer department," and ended up bridging the gap between the two as digital began to take over.

We get into his first feature — the original Jurassic Park — his year-long apprenticeship in the legendary ILM art department alongside Doug Chiang, Ty Ellingson, Harley Jessup, Mark Moore and Stefan Dechant, and the time he had to split a $1,400 piece of 3D software into two $700 purchase orders to get round ILM's general-manager sign-off threshold. It's a small story but it tells you everything about the era — digital tools were arriving faster than the institutions running things knew what to do with them.

A big part of the conversation focuses on the early years of digital pre-visualisation. David did the first major digital previs sequence in mainstream cinema — the train and helicopter sequence in Brian De Palma's Mission: Impossible, the work John Knoll asked him to do that's now credited as one of the reasons the sequence got greenlit. From there he went on to spend four years working with George Lucas on The Phantom Menace, building the entire pod race in previs (a 25-minute version that almost no one has ever seen got whittled down to the 9-and-a-half-minute final), establishing his now-famous three rules of previs (no textures, no motion blur, no shadows) and then immediately having to break all three of them to convey the sense of speed and floating in the pod race itself.

There are some lovely George Lucas stories too, including the time George walked into the editing room and reacted to David's droid-factory post-vis with "honestly, I was a little worried about that one — looks like it's gonna work," and the moment when George trailed off mid-sentence trying to describe a desert landscape and David — a 21-year-old kid — finished the thought with "John Ford?", which David thinks is the moment Lucas decided he could trust him. Later in the conversation we move into David's own company, Persistence of Vision, and his work on Titan A.E., Behind Enemy Lines, JJ Abrams' Mission: Impossible III, the 2009 Star Trek reboot (including the previs realisation that Vulcan being orange meant the costumes — originally designed to evoke 70s NASA — had to be completely redesigned) and Journey to the Center of the Earth 3D, where David served as second unit director on the first digital stereoscopic film and the production was effectively beta-testing the cameras Jim Cameron was building for Avatar.

We finish on Zafari, David's 52-episode children's animated series rendered almost entirely in Unreal Engine — one of the earliest large-scale uses of real-time rendering in mainstream animation, which saved 30% of the production budget — and on a wider conversation about AI, the future of filmmaking, the importance of human authenticity, and David's lovely closing thought: study the art and history of cinema, study the drawing, not just the pencil. The tools will keep changing. The language won't.

Topics covered
* Growing up in Phoenix and the Cine Capri projection-booth moment during Empire * Discovering The Art of Special Effects book and the road to an ILM internship * Joining the ILM art department in 1991 alongside Doug Chiang, Ty Ellingson, Harley Jessup and Mark Moore * Bridging the art and computer departments as digital arrived at ILM * The $1,400 / two-$700-purchase-orders workaround for buying 3D software * Working on the original Jurassic Park as his first feature * Doing previs for the Star Wars Special Editions (the dewback shots, Mos Eisley fly-bys) * John Knoll asking him to previsualise the train-and-helicopter sequence on Mission: Impossible * How that previs is credited as one of the reasons the sequence got greenlit * Joining the new Skywalker Ranch art department under George Lucas * Four years on The Phantom Menace and the 25-minute version of the pod race * The three rules of previs (no textures, no motion blur, no shadows) — and breaking all of them to make the pod race work * George Lucas reacting to the droid factory post-vis ("looks like it's gonna work") * The Jake Lloyd head-turn morph that saved a reshoot * Why pod racers go 500 mph in some shots and 2,000 mph in others * The cinematographer who declared previs "shit" — and was overruled by the studio * Founding Persistence of Vision and the move from Lucas to wider Hollywood * Titan A.E. and the Don Bluth / Gary Goldman Phoenix animation studio * Behind Enemy Lines and pre-vising aerial action * Mission: Impossible III with JJ Abrams — the Shanghai building swing and the windmill helicopter sequence * The Star Trek reboot orbital skydive — and how previs forced a costume redesign because Vulcan was orange * Journey to the Center of the Earth 3D as second unit director, using Jim Cameron's pre-Avatar cameras * Zafari, Unreal Engine, and saving 30% of an animated TV budget through real-time rendering * The shift from analogue to digital to 3D to real-time to AI — and what stays constant * Dennis Muren's wisdom on authenticity at the Jurassic Park wrap party * Why a human premium will remain in an AI-augmented filmmaking world * George Lucas, John Ford and the moment a 21-year-old earned a director's trust * The advice David gives to young filmmakers: study the drawing, not just the pencil

Support the Podcast

This podcast is completely independent and made possible by listener support. If you'd like to help me keep making these episodes, you can join my Patreon community here: patreon.com/jamiebenning Watch on YouTube Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: youtube.com/filmumentaries

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this episode, I chat with creature effects artist, puppeteer and digital pioneer Craig Caton-Largent about a career that arguably traces the entire arc of modern visual effects — from foam latex and animatronics to motion control, performance capture and full CG animation.

Craig talks about growing up on a sheep and cattle ranch in Washington State, being captivated by the 1960s Batman TV show and then Planet of the Apes, and teaching himself prosthetics from Dick Smith's Monster Makeup Handbook. After tracking down Dick Smith's address in Who's Who in America, he wrote a letter that led to a year of mentorship over cassette tapes and ultimately introductions to Rick Baker, Stan Winston and Tom Burman.

We get into his first job on Charles Band's Metal Storm: The Destruction of Jared-Syn, working on the Olympic alien for the 1984 closing ceremonies, sculpting barnacles on Cocoon, building Spock's seamless silicone ears on Star Trek IV: The Voyage Home, undulating menacingly under shaving cream on Larry Cohen's The Stuff, and puppeteering Slimer's mouth on the original Ghostbusters. A big part of the conversation focuses on Jurassic Park, including the design evolution of the T-Rex, the helicopter convention moment that led to the McFadden motion base, the logistics of moving the full-size animatronic across the San Fernando Valley at night, and Craig's work as the Raptor puppeteer, including the now-legendary "head tilt" at the kitchen window that earned an on-set "It's like Alien, I love it" from Spielberg.

We also talk about Craig's twenty-year stint as the caretaker, or "doctor", to the original ET puppet, including the time the LAPD turned up at his garage door thinking he was running a crack lab while he was actually repainting ET.

Plus the story of how Stan Winston handing him a couple of SGI machines led, almost overnight, to him becoming one of the eight co-founders of Digital Domain alongside James Cameron and Scott Ross. Later in the conversation we move into Craig's animation career as a final layout artist and character TD at DreamWorks and Disney, with credits on Tangled, Rise of the Guardians, How to Train Your Dragon 2 and Turbo, and stories from working with Guillermo del Toro at DreamWorks. We finish on Craig's current role as Creative Director of the 3D Animation and Visual Effects department at the New York Film Academy in Burbank.

Topics covered
* Growing up on a Washington State ranch and falling in love with Planet of the Apes * Famous Monsters of Filmland and Dick Smith's Monster Makeup Handbook * Cold-writing to Dick Smith and a year of cassette-tape mentorship * Arriving in Hollywood at the start of the "golden age" of effects * First feature work on Metal Storm: The Destruction of Jared-Syn * The closing ceremonies of the 1984 LA Olympics and Ron Cobb's alien * Sculpting barnacles and cocoons for Cocoon (1985) * Seamless silicone Spock ears on Star Trek IV: The Voyage Home * The Stuff with Larry Cohen and "undulating menacingly" * Puppeteering Slimer's mouth on Ghostbusters * Designing the T-Rex around helicopter flight simulator technology * Working with McFadden Simulation on the T-Rex motion base * Moving the full-size T-Rex across the San Fernando Valley * Building a 70lb Steadicam-rigged Raptor insert head for Jurassic Park * Using parrots as reference for bird-like Raptor movement * The kitchen porthole head tilt, and Spielberg's "It's like Alien" reaction * Using Kermit the Frog's voice on set as the Raptor performer * Twenty years as ET's "doctor", and the LAPD crack-lab incident * ET's arm in a rifle case at JFK a week after 9/11 * Motion capture experiments and blood-spread effects on Interview with the Vampire * A flying logo on an Amiga, and becoming a co-founder of Digital Domain * Working with Stan Winston, James Cameron and Scott Ross * Moving into animation: character rigging at Disney on Tangled * Final layout and virtual camera work at DreamWorks on Rise of the Guardians, How to Train Your Dragon 2 and Turbo * Lunches with Guillermo del Toro in the DreamWorks canteen * Pre-vis on the Total Recall remake with Len Wiseman * Teaching the next generation at the New York Film Academy, Burbank * The unique "intergalactic award" Spielberg gave Craig for puppeteering ET

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this episode, I chat with model maker Jim Davidson about his journey from a dinosaur-obsessed kid in the 1970s to working on some of the most memorable practical effects sequences in modern cinema. Jim talks about discovering the work of Ray Harryhausen, and how seeing Star Wars at the age of 12 made him realise that visual effects could be a real career.

We get into how a chance meeting with future Oscar-winning art director Robert Stromberg led to his first break in the industry, and how that snowballed into working with the Skotak brothers on major productions. Jim shares detailed insights into the making of the nuclear nightmare sequence in Terminator 2: Judgment Day, including how the miniature buildings were constructed, destroyed, and reset using a combination of breakaway materials, air cannons and practical ingenuity.

We also talk about his work on Batman Returns, the realities of working in small, tight-knit effects crews, and the creative problem-solving that defined that era of filmmaking. A big part of the conversation focuses on the industry shift following Jurassic Park, when CGI began to replace large-scale practical effects. Jim reflects on witnessing that transition first-hand, and why he chose not to move into digital work.

There’s also discussion of his later work, including returning to stop motion for Creepshow, bringing things full circle back to the techniques that first inspired him. It’s a fascinating look at a very specific window in film history, from someone who was right in the middle of it. Topics Covered
* Growing up in the 1970s and early creative influences * Discovering Ray Harryhausen and stop motion * The impact of Star Wars on a generation * Breaking into the film industry through Robert Stromberg * Early work and first film projects * Working with the Skotak brothers * Practical effects techniques on Terminator 2 * Building and destroying miniature cities * In-camera effects vs optical compositing * Working on Batman Returns miniatures * Life on practical effects crews in the 80s and 90s * The rise of CGI after Jurassic Park * Transition from analog to digital workflows * Matte painting: traditional vs Photoshop * Returning to stop motion on Creepshow * Reflections on a career in practical effects

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

Episode 147: John Duncan

In this episode, I’m joined by model maker John Duncan, whose career spans nearly fifteen years at Industrial Light & Magic and includes work across Star Wars, Star Trek, Galaxy Quest, Pirates of the Caribbean, The Matrix and more.

John talks about his early fascination with building miniatures as a kid, making models out of paper and cardboard, and how that instinct to just try things eventually led him into the film industry. What started as architectural model work and a stint in television quickly turned into a career at ILM, beginning in 1993, where he arrived for what was meant to be a two-week job and stayed for over a decade .We get into the realities of model making for film, learning to build for the camera rather than for close inspection, working under tight deadlines, and letting go of work when it needs to be modified or destroyed for the shot.

John also discusses his time as a concept model maker on the Star Wars prequels, working with Doug Chiang to create what he describes as “3D blueprints” for the wider production. These models helped bridge the gap between design, practical builds and digital assets, ensuring consistency across departments.There’s plenty here on specific projects too, including building the Enterprise-E for Star Trek: First Contact, working on the ships for Galaxy Quest, and contributing to the large-scale pirate ships in Pirates of the Caribbean. He also shares stories about unusual materials, problem-solving on the fly, and the collaborative nature of the ILM model shop.

We also talk about the shift from practical models to digital effects, where miniatures still have a place today, and why physical builds continue to resonate with filmmakers and audiences alike.John is thoughtful, practical, and clearly still passionate about the craft. This is a great insight into a side of filmmaking that often goes unnoticed, but is absolutely fundamental to how these films were made.

Topics covered
* Growing up building models and early creative influences * First steps into the film industry via architectural models * Joining ILM in 1993 and working alongside industry legends * Building models for camera vs building for display * Working on Star Trek: First Contact and Galaxy Quest * Concept model making on the Star Wars prequels * Collaborating with Doug Chiang and George Lucas * The idea of “3D blueprints” in film production * Practical effects vs digital effects * Working on Pirates of the Caribbean * Materials, techniques and problem-solving in the model shop * Replica prop community and fan research * Why physical models still matter

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this episode, I sit down with Don Bies – former Lucasfilm archivist and special effects artist at ILM – for a deep dive into his career and his time inside the Star Wars archive. Don takes me right back to his childhood in Chicago, where a viewing of the 1931 Frankenstein sparked a lifelong fascination with makeup effects and filmmaking . From experimenting with homemade prosthetics to building a full-size R2-D2, his early passion eventually led him to California. We talk about his first major break working on The Fly, where he contributed to several effects – many of which ended up on the cutting room floor, but gave him invaluable experience. From there, Don’s path into Lucasfilm begins, starting with operating R2-D2 on commercials alongside Anthony Daniels, Peter Mayhew and even George Lucas. That connection ultimately led to him working on the Lucasfilm archives. This is where things get really interesting. Don describes what it was like stepping into a warehouse full of original Star Wars props, models and documents – much of it undocumented and at risk of being lost or discarded . He shares stories of discovering key items like Darth Vader’s helmet hidden in a crate, uncovering original manuscripts and audio recordings, and building one of the first digital catalogues of the collection. We also get into:
* His role in early Lucasfilm exhibitions and the growth of the archive * Working at Skywalker Ranch and the unique creative environment there * The transition period between Return of the Jedi and the Special Editions * Wearing multiple costumes (including Boba Fett) during the Special Edition shoots * The reality of preserving film history inside a working production company

It’s a brilliant conversation that really captures a moment in time when Star Wars history could easily have been lost – and the people who helped save it.

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this episode of The Filmumentaries Podcast, I’m joined by creature effects designer Alec Gillis, founder of Studio Gillis and co-founder of Amalgamated Dynamics Inc. (ADI) alongside Tom Woodruff Jr.Alec has spent more than four decades helping bring some of cinema’s most memorable creatures to life.

After beginning his career working under the legendary Stan Winston, he went on to contribute to films including Aliens, Predator, Alien³, Tremors, Death Becomes Her, Starship Troopers and many more.In this conversation we talk about how a childhood encounter with Ray Harryhausen’s Jason and the Argonauts set him on this path, the early days building stop-motion creatures in his parents’ garage, working for Roger Corman alongside a young James Cameron, and what it was like joining Stan Winston Studio during one of the most exciting periods in creature effects history.

We also talk about the eight-week scramble to build the Predator, working with David Fincher on Alien³, forming ADI with Tom Woodruff Jr., and how practical creature effects continue to evolve in an industry now dominated by digital tools.

This interview was recorded remotely, but I recently had the chance to visit Alec in Los Angeles while filming interviews for our upcoming Joe Alves documentary, where we spoke in person about his work on Jaws 3-D.

Topics discussed

• Discovering movie magic through Ray Harryhausen
• Building stop-motion creatures as a kid
• Learning the craft during the Roger Corman years
• Meeting and working alongside James Cameron
• Life inside Stan Winston Studio
• Creating the Predator in just eight weeks
• The production of Alien³ and working with David Fincher
• Founding Amalgamated Dynamics Inc. with Tom Woodruff Jr.
• Practical effects in the digital era
• Mentoring the next generation of creature artistsSupport the Podcast

I hope you enjoy it.

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this episode, I chat with Academy Award-winning sound designer Randy Thom about his journey from college radio to shaping the soundscapes of some of cinema’s most iconic films.We discuss:
* Growing up loving movies and discovering sound via college radio in Ohio * Making a cold call to Walter Murch and landing a job on Apocalypse Now * Early sound experiments at Skywalker Ranch * Recording effects for The Empire Strikes Back and Raiders of the Lost Ark * Collaborating with Robert Zemeckis and David Lynch * Why sound should be involved in pre-production * The evolution from analog to digital workflows * The creative and economic impact of AI on film sound * The philosophy behind “inventing” sonic space * Winning an Oscar for The Right Stuff * Winning a BAFTA for The Revenant

Randy also reflects on mentorship, collaboration at Skywalker Ranch, and why storytelling always matters more than authenticity.Listen now and take a deep dive into the craft of cinematic sound.

See below for all the links you might need!

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

This is a short bonus episode with a very specific purpose. Patrick Tyndall and I are in the middle of a GoFundMe campaign to get us back to Los Angeles to finish filming Not Your Average Joe, our documentary about legendary production designer Joe Alves. This episode is me explaining where the project is at, what we’ve already achieved, and why this upcoming LA trip feels so important. We’ll be in Los Angeles from 22–28 February 2026, filming interviews and B-roll that cover some key chapters of Joe’s life and career, including:
* Joe’s short but intense motor racing career, including racing alongside Dickie Smothers * The story of Joe introducing a major Hollywood actor to racing, setting them on a path to a serious motorsport career * An interview with Alec Gillis the effects artist who built the articulated sharks for Jaws 3 * A conversation with Ann Dusenberry, who worked closely with Joe on Jaws 2 * An interview with Dean Cundey, cinematographer on Escape from New York * Ongoing efforts to involve Steven Spielberg in the project

The documentary has only been shot over a relatively small number of days so far, all fitted around regular jobs and family life, but the material we’ve captured already has been incredible. This next trip is about joining the dots and getting the remaining pieces that will allow us to bring Joe’s story properly over the finish line. At the time of recording, the GoFundMe is sitting at around $1,000, and we need roughly $3,000 to make the trip work. Any contribution helps, but just as importantly, sharing the campaign on social media genuinely makes a difference. If you’ve ever enjoyed the podcast, the articles, or the behind-the-scenes conversations, this is me asking for a bit of help to make sure this story gets told.

Donate here!

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this episode of The Filmumentaries Podcast, I’m joined by filmmaker John Campopiano and producer Jim Beller to talk about their new documentary, The Farmer and the Shark. The film centres on Craig Kingsbury, a farmer from Martha’s Vineyard who appeared in Jaws (1975), playing Ben Gardner, the local fisherman whose abandoned boat is discovered by Chief Brody early in the film.

From that small but unforgettable role, the documentary explores Craig’s life, his connection to the island, and how his story intersects with the legacy of Jaws.

John Campopiano is the director of the film and is known for documentaries including Unearthed & Untold: The Path to Pet Sematary and Pennywise: The Story of IT. Jim Beller is one of the producers of The Farmer and the Shark - former producer of my Inside Jaws - A Filmumentary and all round Jaws expert.

I should note that I haven’t seen the finished film yet, so this conversation focuses on the making of the documentary, how the project came together, why Craig Kingsbury’s story stood out, earning trust, and shaping a film around a real person whose life briefly intersected with a cinematic landmark. If you’re looking for a calm, thoughtful conversation about film history, storytelling, and the people behind the scenes, I hope this episode provides a welcome distraction. Guests
* John Campopiano — Director * Jim Beller — Producer

Films Discussed
* The Farmer and the Shark * Jaws (1975)

Support the Podcast - If you enjoy The Filmumentaries Podcast, you can support the show on Patreon. Your support helps cover the time, research, travel, and production costs involved in making these episodes. Thanks for listening.

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

**Jon's Kickstarter Link

Summary**
In this conversation, Jon Spira discusses his new book 'I'll Settle for Nothingness: Conversations with Mike Hodges', detailing the genesis of the book, his friendship with the legendary filmmaker, and the exploration of Hodges' versatile career. The discussion covers many things including the making of 'Morons from Outer Space', the challenges of unproduced films, and the emotional journey of writing the book. Spira also shares insights into Hodges' legacy, his experiences with the BFI, and the Kickstarter campaign for the book's publication.

Takeaways
The book is a collection of conversations with Mike Hodges.
Jon Spira's friendship with Hodges developed through their shared love of cinema.
'Morons from Outer Space' is a film that has gained a cult following despite its initial failure.
Hodges was a versatile filmmaker, working across various genres.
The Terminal Man is a significant film that was poorly marketed and overlooked.
Hodges had many unproduced films that reflect his creative vision.
The BFI is preserving Hodges' legacy through his film archive.
Spira aims to honor Hodges' memory through this book.
The emotional journey of writing the book was profound for Spira.
The Kickstarter campaign is a way to celebrate Hodges' work and legacy.

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

Rob Spera is a film and television director, educator, and the author of Film/TV Director’s Field Manual: 70 Maxims to Change Your Filmmaking. With decades of experience directing features, episodic television, and theatre, Rob brings a deeply practical, human-centred approach to directing and leadership. In this conversation, we discuss:
* Why Rob describes his book as an “anti-textbook” * The idea that the camera’s job is to photograph subtext * Building non-redundant frames that invite the audience to participate * Why kindness and psychological safety are essential creative tools * Letting go of control and empowering collaborators * What “write what you know” really means * How directors can practise their craft between jobs

Film/TV Director’s Field Manual – available via Amazon and Rob’s website

HAPPY HOLIDAYS!

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this episode of The Filmumentaries Podcast, I’m joined by Laurent Hopman and Renaud Roche, the writer and artist behind the acclaimed graphic novel Lucas Wars, which tells the behind-the-scenes story of the making of Star Wars from a deeply personal, human perspective. Laurent shares his background as an entertainment journalist and how years of research, interviews, books and documentaries fed into the script. Renaud talks about coming from a traditional animation and storyboarding background, studying at Gobelins in Paris, and how cinematic visual language shaped the way he approached the book’s artwork. We discuss:
* Why the emotional journey of George Lucas became the heart of the story * How the pair condensed vast amounts of historical research into a tightly structured graphic novel * The challenge of visually dramatising meetings, offices and creative conflict * The relationship between Lucas and Spielberg, and how it shapes both volume one and the upcoming sequel * The meaning behind the iconic twin suns cover * Visiting Skywalker Ranch and Lucasfilm after the book’s release * Balancing historical accuracy with storytelling * Why Lucas Wars connected with readers beyond the core Star Wars fandom

We also talk about the upcoming second volume, which covers The Empire Strikes Back and Raiders of the Lost Ark, and how expanding into Spielberg’s world adds a new layer to the story. As always, if you enjoy the podcast and would like to support what I do, you can find me on Patreon, and the show is also available on YouTube if you prefer to watch the interviews.

BUY IT HERE

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this episode of The Filmumentaries Podcast, I speak with art director and supervising art director Dominic Masters, whose decades-long career spans some of the biggest films and series of the last 40 years. He grew up around movie sets thanks to his father, the legendary production designer Tony Masters (2001: A Space Odyssey, Papillon, Dune), and started his own journey at 19 when he spent eight months in China on Tai-Pan — the first Western movie ever shot there.

Dom talks about learning the foundational skills of drafting, the early struggles of finding work in the British film industry of the mid-80s, and the unique lifestyle of moving from production to production — that strange micro-community that forms on set, often in far-flung locations.

We cover his experiences on Titanic working under James Cameron, the shift from physical sets to set extensions and digital workflows, the evolution of the art department, and how shows like House of the Dragon demand an enormous level of coordination, creativity and technical precision. We also talk about the British Film Designers Guild, the camaraderie that forms in the art department, and his personal creative outlets, photography and music, that keep him balanced between jobs.

It’s a wide-ranging, honest conversation with someone who has seen the industry evolve from the studio backlots of the 1970s to enormous contemporary productions. Topics discussed
* Growing up around film sets and learning from legendary designers * His first job on Tai-Pan in 1985 and the experience of shooting in China * The hierarchy and craft of the art department * Collaboration with directors, designers, construction and VFX * Working on Titanic and the extraordinary scale of the build * The Harry Potter films, James Bond films, and shifting directors * The intensity and scale of House of the Dragon * Surviving the freelance lifestyle and industry downturns * Creative outlets outside the job

Guest Dominic Masters – Art Director / Supervising Art Director
Selected credits: House of the Dragon, Belfast, Wonder Woman, Now You See Me 2, Casino Royale, Harry Potter, Titanic, The World Is Not Enough, The Avengers.

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this episode of The Filmumentaries Podcast I speak with author and film historian Jay Glennie about his new book, The Making of Quentin Tarantino’s Once Upon a Time ...In Hollywood. Jay has a real gift for pulling together people, memories and materials, and this book is packed with insight from the cast and crew, including Leonardo DiCaprio, Brad Pitt, Margot Robbie and Quentin himself.We get into how long Quentin carried the idea for the film, the script secrecy following The Hateful Eight leak, and the vital work of the ADs, casting team, DP, production designer and producers. Jay talks about the careful balancing act of handling contradictory memories, how he preserves the voices of the people he interviews, and how he approaches a project that is still fresh in everyone’s mind. We also look at what comes next in his ten book Tarantino series.

Big thanks to Jay and to TITAN books.

Buy Jay Glennie’s book - published by TITAN.

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this bonus episode of The Filmumentaries Podcast, host Jamie Benning, that's me... talks with author and filmmaker John Walsh about his new book The Art and Making of Gladiator II.

Walsh discusses how he was approached by Abrams Books and Paramount Pictures to chronicle the creation of Ridley Scott’s Gladiator sequel, offering rare insights into the production design, visual effects, and creative collaboration behind one of the most ambitious films of the decade.

The conversation explores how Walsh handled the challenge of documenting a still-in-production movie, his access to thousands of behind-the-scenes images, and the process of balancing art direction, photography, and storytelling in an official studio book. We also look ahead to Walsh’s next project — a deep dive into The Texas Chain Saw Massacre, and reflect on the enduring value of physical “making-of” books in today’s digital film culture.

BUY THE BOOK HERE

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this episode of The Filmumentaries Podcast, I sit down with sibling filmmakers Claire and Anthony Bueno, the creative team behind Cleanin’ Up the Town: Remembering Ghostbusters - a feature documentary more than a decade in the making, and the definitive oral history of one of the most beloved comedies of all time.

The Buenos spent years interviewing dozens of cast and crew members from the original Ghostbusters, including Dan Aykroyd, Ernie Hudson, Sigourney Weaver, and the late Harold Ramis. The result is an extraordinary behind-the-scenes portrait that captures both the technical wizardry and the creative spirit that defined the 1984 classic.

Claire’s new companion book, also titled Cleanin’ Up the Town, builds upon the documentary by presenting full-length interviews, previously unseen material, and new reflections from the filmmakers and craftspeople who brought Ghostbusters to life. In our conversation, Claire and Anthony share what it took to get the project made -the years of persistence, the challenges of rights and access, and the rewards of telling such a beloved story from a fan’s perspective.

Whether you’re a lifelong Ghostbusters enthusiast or simply interested in independent documentary filmmaking, this is a fascinating glimpse into the dedication required to bring such a massive project to life.

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

Episode 136: A Martha’s Vineyard special report on the Joe Alves Documentary shoot.

This week’s episode is a little different. It is a behind the scenes update on our ongoing feature documentary about production designer and director Joe Alves (Jaws, Close Encounters, Escape from New York, Jaws 2, Jaws 3D). I take you through our trip to Martha’s Vineyard in June 2024 to capture Joe’s return to the island for the 50th anniversary of Jaws. Thanks to your generosity, we raised over £7,000 to cover the travel, ferry, car hire, and accommodation. Every penny went into the shoot. In this episode, I share:
* The challenges and triumphs of making the trip possible * Shooting new interviews with Joe Alves, Marty Milner, Charles de Lauzirika, and Richard Dreyfuss * Filming at iconic Jaws locations including Menemsha and the 4th July beach. * The overwhelming warmth of the Jaws community and the atmosphere of the anniversary celebrations * How the project has evolved from a short film idea into a full feature documentary * Your support is still needed!

We still have more to do, including chasing interviews with Dean Cundey, John Carpenter, Lea Thompson, and Steven Spielberg. If you would like to support the film, visit the GoFundMe link in the show notes. Thanks again for helping us push this project forward. We could not do it without you.

Support the documentary GoFundMe

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

Cinema historian Nigel Smith joins Jamie to explore the hidden history of London’s picture houses. In particular the Egyptian-style Carlton in Islington. Nigel brings these spaces back to life through stories, archives, and first-hand recollections. In this episode, Nigel and Jamie discuss:
* How London’s old cinemas became coffee shops, bingo halls, and churches * The difference between “going to the pictures” in the 1930s–50s and cinema-going today * How local archives, trade papers, and oral histories help piece together forgotten stories * Why repertory and community cinemas may hold the key to the future of film-going * Nigel’s Memory Palaces project, documenting almost 100 cinema buildings with photos and stories

Find more from Nigel:
memorypalaces.co.uk and Instagram @nigelsmithwalks.

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this episode of The Filmumentaries Podcast, I talk with James Kahn, the novelist behind some of the most iconic movie novelizations of the 1980s, including Return of the Jedi, Indiana Jones and the Temple of Doom, The Goonies, and Poltergeist. James shares how a chance encounter while working as an ER doctor in Santa Monica led him onto the set of ET: The Extra-Terrestrial, where he met Kathleen Kennedy and Steven Spielberg, an opportunity that set his writing career in motion. We discuss:
* How James went from emergency medicine to Hollywood writer * His early break writing the Poltergeist novelization * The creative freedom Spielberg gave him on Temple of Doom, The Goonies, and others * Writing Return of the Jedi under intense secrecy — including how George Lucas gave him a decoy script where Luke kills the Emperor * Inventing backstory details that became “canon” for decades, like Ben and Owen being brothers and hints about Anakin’s fall into the lava pits * Giving Short Round his own chapter and exploring Mikey’s POV in The Goonies * How his books helped fans relive these films long before home video * Why a great novelization is about more than retelling a screenplay * His recent memoir, A Jedi Memoir: A Double Life, weaving together stories from Hollywood and emergency medicine

If you grew up with these books, this one’s packed with insights, behind-the-scenes stories, and moments of movie history you probably didn’t know. If you enjoy the show and want to help me keep making these conversations, please consider supporting the podcast on Patreon:

All the links

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this episode of The Filmumentaries Podcast, I sit down with Tommy Williamson, a visual effects artist, prop maker, and lifelong creator whose career spans more than three decades. Tommy has worked on films including Spider-Man 2, Sin City, The Mist, Dune: Prophecy, and the modern masterpiece Pan’s Labyrinth. Tommy shares his journey from building paper-craft UFOs as a kid to working alongside Guillermo del Toro and becoming one of the artists helping to bridge the worlds of practical effects and cutting-edge digital VFX. We also dive into his passion for prop replicas and his work as the creator behind Nerds and Makers, where he builds incredible recreations of iconic movie props. If you love behind-the-scenes filmmaking stories, prop-making secrets, and hearing from the artists who bring movie magic to life, this episode is for you. In this episode, we discuss:
* Tommy’s early love of model making and practical effects * His first big break on the 1988 remake of The Blob * Adapting to the digital VFX revolution after Jurassic Park * Working closely with Guillermo del Toro on Pan’s Labyrinth * The creative process behind his Nerds and Makers prop replicas * Why keeping one foot in both practical and digital worlds makes him a better artist * The importance of experimentation, curiosity, and lifelong creativity

“I’ve always had to make things. It’s absolutely in my DNA. Even now, I’ll work on a show all day and then spend my evenings printing a lightsaber or a blaster. I can’t not do it.” — Tommy Williamson

You can follow Tommy and see his incredible prop builds on Instagram: @nerdsandmakers

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

Episode 132 - Dave Barclay - My Life With Animatronics. Movies, Puppets and Beyond!

At just 19 years old, Dave Barclay found himself stepping into the role of chief puppeteer for Yoda in The Empire Strikes Back. It was the start of an extraordinary career in animatronics and puppetry that would see him bringing to life some of cinema’s most beloved and memorable characters. In this episode, Dave takes us back to his creative beginnings, growing up in a family of puppeteers, and the serendipitous chain of events that led from working in Hamleys toy shop to meeting Mark Hamill — and ultimately joining Stuart Freeborn’s Yoda team.

We cover:
* His early inspirations from Planet of the Apes to making masks at home. * The technical and creative challenges of performing Yoda alongside Frank Oz. * Becoming chief puppeteer for Jabba the Hutt in Return of the Jedi. * Working on The Dark Crystal, Little Shop of Horrors and Who Framed Roger Rabbit. * The importance of collaboration between puppeteers, animators, special effects teams and actors. * The process of writing his new autobiography My Life with Animatronics, Movies, Puppets and Beyond, filled with stories and photos from across his career.

Dave’s journey is a mix of artistry, technical problem-solving, and being in the right place at the right time — but also about saying “yes” when opportunity knocks.

Listen now to hear stories from a man whose work has shaped how we see and believe in some of cinema’s most iconic creatures. Find Dave’s book:

My Life with Animatronics, Movies, Puppets and Beyond – available now at Cool Waters Productions.

All my links

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this special bonus episode of The Filmumentaries Podcast, I take you behind the scenes of Propstore’s upcoming Los Angeles auction, featuring some truly jaw-dropping pieces of movie history. I was invited to a press preview at London’s Dorchester Hotel, where I spoke with Propstore’s Tim Lawes (Director of Consignment) and Stephen Lane (CEO and Founder) about some of the headline items, including:
* A screen- and photo-matched Darth Vader hero lightsaber from The Empire Strikes Back and Return of the Jedi * The iconic Jaws clapperboard with teeth, plus Bruce the shark’s eyes * Jane Fonda’s Barbarella costume and blaster

We discuss the thrill of uncovering long-lost props, the stories behind these legendary items, and what it means for collectors to own a piece of cinematic history. The auction runs September 4–6, 2025, streamed online from Los Angeles, with the full catalogue available at propstore.com.

Next episode: My interview with puppeteer Dave Barclay, whose incredible career goes far beyond Jabba the Hutt.

All my links

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In episode 131 of The Filmumentaries Podcast, I sit down with director Phil Hawkins to talk about his journey from a kid obsessed with Jurassic Park and Star Wars to a filmmaker directing commercials, indie features, and ambitious projects like Star Wars: Origins and the Sky Original Robin in the Hoods.

Phil shares how he taught himself filmmaking as a teenager, cutting together VHS tapes and roping in friends to create homemade sci-fi adventures. We discuss how this DIY approach evolved into making shorts and, later, a career in commercials – where he honed his craft in visual storytelling, working with big crews, and balancing creative ambition with tight schedules. We also talk about his fan-favourite short film Star Wars: Origins, which went viral for its bold concept and cinematic scale, and how it helped open doors to bigger opportunities, including his recent family feature Robin in the Hoods.

Along the way, Phil reflects on the importance of collaboration, and the lessons learned from juggling creativity with industry realities. If you’re interested in how a director moves from self-taught beginnings to studio-backed projects while staying true to his passion, this is a conversation worth hearing.

Listen now to hear:
* How VHS edits and fan films became Phil’s film school. * The leap from shorts to commercials – and what commercials teach about storytelling. * Making Star Wars: Origins and the risks and rewards of fan filmmaking. * Crafting Robin in the Hoods and wrangling a cast of young actors for an adventure film. * Phil’s thoughts on building a creative, respectful set environment.

Star Wars Origins
All the links

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

Episode 130 – Laurent Bouzereau on “Jaws at 50” In this special episode, I catch up with the legendary documentary filmmaker Laurent Bouzereau to discuss his latest project, Jaws @ 50: The Definitive Inside Story, premiering Friday 11th July at 8pm on National Geographic and streaming the same day on Disney+. Laurent, whose behind-the-scenes work on Jaws, Indiana Jones, and Spielberg has inspired me for years, reflects on the challenges of revisiting Jaws 30 years after his original 1995 documentary. We talk about the new angles he explored, from Spielberg’s emotional recollections and rare 8mm footage to fresh perspectives from filmmakers like Guillermo del Toro, Jim Cameron, and Jordan Peele. Recorded on the fly on Martha’s Vineyard during the Jaws 50th celebrations, this short but meaningful conversation touches on the legacy of Jaws, the humanity behind the production, and how Laurent’s approach has shifted over the years. Also in this episode:
* An update on my Joe Alves documentary and the incredible support from GoFundMe donors * A mention of my new two-part article on ILM's animation legacy: ILM Evolutions: Animation from Rotoscoping to Rango – now live on ILM.com

Linktree

Support the podcast

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

Episode 129 – The Star Wars Influence: Live at the BFI’s Film on Film Festival In this special live episode, I join Doug Weir—Remastering Lead at the BFI—and post-production veteran Paul Collard on stage for a panel titled The Star Wars Influence, recorded at the BFI’s Film on Film Festival. Curated and hosted by Doug, the panel explores how George Lucas’s frustrations with the Hollywood studio system led to a wave of technological innovation that forever changed the filmmaking landscape. From the creation of ILM to the invention of motion control, EditDroid, SoundDroid, and digital cinema tools, we look at how Lucas empowered a generation of problem-solvers and helped pioneer the digital workflow we now take for granted. This conversation took place just before a rare screening of Star Wars from a 35mm Technicolor dye-transfer print—an experience I’ll be covering in more detail in a bonus episode coming soon. Topics include:
* Lucas’s break from the traditional studio system * The founding of ILM and the Dykstraflex motion control rig * VistaVision, optical printers, and visual effects R&D * The origins of EditDroid and non-linear editing * The value of Technicolor dye-transfer prints * Lucasfilm’s wider influence on Pixar, Avid, and beyond

Thanks again to Doug and Paul—and to the BFI for hosting such a thoughtful and inspiring event.

Joe Alves Doco GoFundMe
All my links

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this special archival episode, I speak with actor and musician Anthony Forrest, best known to Star Wars fans for playing the sandtrooper who famously waved Obi-Wan and Luke past an Imperial checkpoint with the words: “These aren’t the droids we’re looking for.” Originally recorded over a decade ago, this conversation explores Forrest’s original casting as “Fixer” in the cut Tosche Station scenes, his time filming in Tunisia, and how George Lucas unexpectedly tapped him to suit up as a trooper. Anthony also reflects on working alongside Alec Guinness, the skepticism among the British crew, and the surreal experience of flying home with champagne and Star Wars stickers courtesy of Sir Alec himself. Beyond Star Wars, we also discuss Anthony’s career in music, his time busking in the London Underground, and his low-budget feature The Ballad of Bob’s Garage.

Listen in for rarely heard stories from behind the mask.

Mentioned in this episode:
* Deleted scenes from A New Hope * Filming in Tunisia and London * Busking and recording in the London Underground * Alec Guinness and the 2007 Academy screening * The Ballad of Bob’s Garage project

GoFundMe for our Martha’s Vineyard shoot — any support is greatly appreciated!

All my links

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this bonus episode of The Filmumentaries Podcast, I catch up with returning guest Paul King, who you might remember from our previous conversation about his Shining locations documentary, Shine On. This time, Paul’s back with another nostalgic deep-dive — his new short documentary Beneath London: The Story of Alien War. We talk about the origins of the Alien-themed walkthrough experience that terrified visitors to London’s Trocadero in the early 1990s, how Paul tracked down rare archive footage and the people who made it happen, and why he thinks this story still has the potential to grow into a feature-length film. Watch Paul’s documentary on YouTube:
Beneath London: The Story of Alien War In the episode, we cover:
* What Alien War was and how it came together * The strange story of how the creators got official backing from 20th Century Fox * How the experience pushed boundaries long before immersive cinema became a thing * Paul’s process of turning archival material and interviews into a compelling short film

I also share an update on my own documentary, Not Your Average Joe, about legendary Jaws production designer Joe Alves. I’m heading to Martha’s Vineyard this June to film key interviews during the 50th anniversary celebrations — a rare and important opportunity to capture these stories on location. If you’d like to support that project, you can find the GoFundMe here:

https://gofund.me/13795716

Thanks for listening. More behind-the-scenes conversations coming soon.

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

Our Joe Alves GoFundMe Campaign

Episode 129 – Max Evry on A Masterpiece in Disarray: David Lynch’s Dune – An Oral History.

In this episode, I speak with film journalist and author Max Evry about his brilliant and in-depth book A Masterpiece in Disarray: David Lynch’s Dune – An Oral History. What began as a 150-page entry in a cult film series soon grew into a 560-page epic — much like the film it covers.

Max and I talk about the origins of the project, how he managed to get David Lynch himself to take part, and why the oral history format was the right approach for telling this complex story. We also chat about the book’s structure, Max’s archive work, and how his own experiences as a filmmaker gave him a deeper empathy for the challenges Lynch faced.

There’s even a fascinating discussion about Max’s restoration of a long-lost scene featuring Molly Wryn — which you can now watch here:

You can find Max’s book here.

If you enjoy these behind-the-scenes deep dives, please consider supporting the podcast or sharing it with a film-loving friend - patreon.com/jamiebenning

Our Joe Alves GoFundMe Campaign

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

Episode 126 - Inside the BFI National Archives - Film on Film Festival - Special Episode

For this early release of the podcast, I’m taking you behind the scenes at the BFI National Archive in Berkhamsted. The reason for the early drop? Tickets for the BFI’s excellent Film on Film Festival go on sale to the public tomorrow, 9th May 2025, and I wanted to give you a bit of insight into what makes this event so special. The Film on Film Festival runs from the 12th to the 15th of June and is dedicated entirely to screenings on physical film – from 35mm to 16mm, and even nitrate. It’s a rare opportunity to experience films as they were originally shown, in all their analogue glory. While at the archive, I spoke with several of the experts who help make the festival possible and who work daily to preserve the history of cinema. You’ll hear from:
* James Bell – Senior Curator of Fiction and Programme Director, Film on Film Festival * Chris Stenner – Film Laboratory Lead * Sonia Genaitay – Curatorial Archivist * Martin Coffill – Projectionist and QC * David Jones – Film Scanning Lead

A huge thanks to Kieron Webb and Sarah Bemand for organising the day. It was a real privilege to explore the archive, meet the people who keep the machines running and the prints in circulation, and to share it all with you here. If you're attending the festival on the 12th, please do let me know and be sure to say "hi".

BFI Film on Film

All my links

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

Episode 125 – Walter Murch: Suddenly Something Clicked (And 5 Years of Filmumentaries!) In this special 125th episode of The Filmumentaries Podcast, I’m joined once again by the legendary Walter Murch — editor, sound designer, director, author, and true philosopher of cinema. This also happens to mark five years since I launched the podcast, so it felt only fitting to celebrate with someone whose insights have shaped not only cinema itself but how we understand it.

Walter and I discuss his new book, Suddenly Something Clicked, which is due for release on 8th May 2025 via Faber & Faber (thank you to them for kindly sending me a preview copy). The book is a rich mix of theory, practice, and history — true to Walter’s description of it as a “twisted rope” of ideas. We cover everything from the evolution of editing, cinema as a biological and neurological phenomenon, the mysteries of sound design, and even the mechanics of live television editing.

Walter reflects on the analog vs digital shift, why sound should be metaphorical as well as realistic, and how editing mirrors the way our own bodies process time and perception. We also get into Return to Oz, AI in filmmaking, and his thoughts on films like Adolescence and 1917 that attempt to eliminate the cut entirely.

As ever, it’s a joy to speak with Walter — and I hope you enjoy this episode as much as I did recording it.

All my links

Suddenly Something Clicked

Original 1977 Star Wars Screening

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

Hi all,

Here's Rachel's second and final report from Star Wars Celebration Japan.

We hope you enjoy it!

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

As promised, here's report of the goings on in Tokyo at Star Wars Celebration, day one and two from Rachel Pearson.

More tomorrow.

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In my previous episode I spoke with ADR specialist and dialoge editor Vickie Sampson. In that conversation she mentioned briefly about the time the Return of the Jedi audio recordings were stolen from her car. "That's a story for a whole other podcast", she remarked. So I contacted Vickie to ask her if she could record the story. She kindly obliged, and so here it is as a short Bonus episode for you folks!

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

Episode 124

Like many visual effects artists of a certain vintage, Jeff Okun didn’t plan on a career in VFX. In fact, by his own account, he didn't even plan to work in film at all. "I’m a completely accidental human being," he told me with a chuckle. His ambitions began on a very different stage — as a stand-up comic — until a sharply atheistic routine delivered at home earned him a lifetime ban from performing in front of his parents. Instead, Okun’s creative outlet took the form of magic tricks, homemade stunts, and Super 8 visual gags. “I would blow up model ships and fake fights in rush hour traffic,” he said, “and I’d be in the bushes filming with ketchup for blood.” All of this childhood chicanery ultimately gave way to a fascination with the trickery of movies — the kind of illusions you could only pull off with careful camera work, sleight-of-hand editing, and an appetite for mischief. Learning the Craft the Hard Way Okun's first job in film was with the legendary graphic designer and filmmaker Saul Bass. The experience was, in Okun's words, “awful,” but also profoundly formative. As Bass’s gopher-turned-editor, Okun was thrown into the deep end. “I hated him,” he laughed. “But he taught me everything: editing, sound, post-production supervision, how to shoot, how to frame. It was a masterclass.” Working for Bass meant operating in a visually precise, effects-heavy style — layering camera moves, creating in-camera effects, and often relying on labor-intensive optical printing processes. When optical houses turned down Bass’s business — too exacting, too expensive — Okun stepped in with cost-saving workarounds and pricing schemes that actually worked. “We doubled the budget, added a contingency, and somehow still landed exactly on target.”

“By the end of it, I ended up loving the man,” Okun said. “Not because he gave me a break, but because he was so specific and difficult to please that when you did please him, it meant something. He learned how to prep lineup sheets, how to composite with interpositives, and how to break down 140-layer optical shots into manageable components. “I was just the fix-it guy. I didn't know what I was doing half the time. I still don't.” VFX by Way of Accident It wasn’t long before optical houses and producers began calling on Okun when their films were in trouble. One fix led to another. His reputation grew as someone who could step into a crisis and calmly solve it — usually with a combination of ingenuity, humour, and brute-force trial and error. “I think Saul trained me to see puzzles. That’s what it comes down to — seeing what’s broken and putting it together in a way that works. Most of the time, it wasn’t about having the right answer. It was about trying 50 wrong ones.” This kind of lateral thinking came into its own on films like Stargate (1994), where Okun — working with Jeff Kleiser and Diana Walczak’s fledgling CG company — had to convince director Roland Emmerich that computer graphics were even worth attempting. “Roland didn’t believe in CG. So we built the shot, made the CG glider deliberately less detailed to match the miniature footage. Showed it to him. He said, ‘Exactly — that’s what I’m talking about. Miniatures are the way to go.’ And we said, ‘Nope. All CG.’ That’s when he finally came around.” (Fun fact, VFX supervisor Jeff Okun was paid homage by Brent Spiner in Independence Day in the role of Dr. Brackish Okun. There’s uh, a slight resemblance.) - Credit to Nofilmschool.com

Penguins, Moose, and the Invisible Effect Okun is quick to point out he wasn’t a Star Wars kid. In fact, he avoided the original film for weeks on principle — he doesn’t do queues. But he did get a behind-the-scenes tour of ILM’s original Van Nuys facility courtesy of Bass and George Lucas. There, he saw motion control rigs, Richard Edlund on his knees filming the crawl, Phil Tippett animating the chess game, and pyro tests in the parking lot. It was, he admits, a little magical — though it didn’t change the fact that his creative allegiance remained with illusion, not spectacle. “My favourite effects are the invisible ones. I started out as a magician. The goal is to make people believe there’s no trick. That’s where the real artistry is.” Still, that didn’t stop him from sneaking penguins and moose into the background of multiple films. He once gave a horse antlers in a Cameron Crowe movie. In Blood Diamond, he added a huge penguin family to a wide evacuation shot — no one noticed. “It’s like the gorilla basketball video. You just don’t see what you’re not looking for.” The Shark That Ate Sam Perhaps his most famous — or infamous — contribution to pop culture came on Deep Blue Sea. Samuel L. Jackson had just delivered a particularly rough eight-page monologue, and Okun, unimpressed with the script, asked Jackson what he wanted to do. “He just said, ‘Kill me.’ So I said, ‘If you make it to the front of the moon pool, I’ll kill you.’” The surprise shark attack that interrupts Jackson mid-speech is now legendary. It wasn’t in the script. “Renny Harlin didn’t know until the day,” Okun said. “Sam did take after take but always got to the kill spot early. We cut the rest. I shot the elements. It was a massacre. We even had baby sharks pull him apart for fun.” The Changing Landscape Much of our conversation revolved around the changing realities of visual effects — the rise of AI, the complications of LED walls, and the shifting expectations from directors and studios. “People think VFX is just hitting the ‘do it right’ button and then the ‘do it fast’ button,” he said. “There’s so little appreciation for how hard this stuff is, and we’ve done ourselves no favours by making it all invisible.” He sees today’s VFX artists as increasingly anonymous — a shift he’s spent much of his career trying to reverse, both through his own visibility and via his tenure at the Visual Effects Society. “We don’t sell our artistry. We sell our software. You know the names of the DPs, but no one can name last year’s VFX Oscar winners. That’s not sustainable.” The Invisible War Stories At the end of our chat, Okun expressed a desire to tell more of the “true” stories of VFX — the screw-ups, the late-night fixes, the shots that weren’t supposed to work. He wants more people to know that the chaos behind the curtain is often where the real creative breakthroughs happen. “It’s always fun. That’s the only reason I still do it. And when it’s collaborative, when it’s people bouncing ideas off each other, it’s magical. That’s when everyone forgets the pain and just remembers the movie.”

All the Filmumentaries Links

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

Episode 123: Vickie Sampson – Dialogue, Detail, and the Art of Sound In this episode of The Filmumentaries Podcast, I speak with sound editor, dialogue and ADR supervisor, and filmmaker Vickie Sampson. Vickie’s career began in the early 1970s, and she’s since built up a mighty list of credits including Romancing the Stone, The River, Tank Girl, The Fifth Element, Ordinary People, and Return of the Jedi. She’s also the daughter of the trailblazing Kay Rose – the first woman to win an Oscar for sound editing. We discuss:
* Growing up surrounded by film and sound * Her hands-on experiences on shows like The Big Valley and The Rifleman * The vital but often misunderstood role of dialogue and ADR editing * What makes a great production sound handover (and how so many indies get it wrong!) * ‘Temp love’ and the challenges of directors getting attached to scratch tracks * Working with actors like Keanu Reeves, Meryl Streep and Sigourney Weaver * Her time in London supervising ADR for Return of the Jedi – including a story about the reels being stolen from her car * Why clean dialogue is the bedrock of a good film * Her continued work as a director and teacher

This one’s packed with stories, insights, and practical advice for anyone working in – or just obsessed with – film sound. 🎧 Listen now wherever you get your podcasts. 🔗 Mentioned in this episode:
* Skywalking Through Neverland Podcast – Episode 72 – More on Vickie’s Jedi reels story * Simon Hayes' article on the sound of Wicked * “A Letter from Your Sound Department” (available upon request or via Vickie’s site)

Support the podcast:
Grab some merch: filmumentaries.creator-spring.com
Or support on Patreon for just $1 a month: patreon.com/jamiebenning

Follow me on social media:
@filmumentaries on Threads, Instagram and Facebook

Filmumentaries Linktree

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this conversation, I speak with Howard Berry about his film project 'Her Name Was Moviola', which explores the art of film editing through the lens of a a traditional editing setup. Howard shares the origins of the project, his connections with notable filmmakers like Walter Murch and Mike Leigh, who are both involved in the projet. And the challenges he faced in acquiring the necessary equipment for the film.

The chat highlights the technical aspects of film editing and the collaborative nature of filmmaking. We look at the intricacies of documentary filmmaking, particularly focusing on the editing process and the relationship between directors and editors. Howard shares insights into his experience editing a film about editing, the challenges faced during production, and the importance of preserving cinematic stories. We also touch on the film's reception at various festivals and the future distribution plans.

• The project began as an oral history of Elstree Studios.
• Howard's connections in the film industry were crucial to the project's development.
• Walter Murch's involvement was pivotal in shaping the film's direction.
• The film aims to document the process of editing, not just the final product.
• Acquiring vintage equipment like the movieola was a significant challenge.
• Howard's persistence in networking led to valuable collaborations.
• Mike Leigh's willingness to share footage was a turning point for the project.
• The technical aspects of editing are often overlooked but are essential to the craft.
• The film serves as a tribute to the art of film editing.
• Howard's journey reflects the importance of community and support in filmmaking. Howard emphasizes the importance of preserving historical stories in film.
• The documentary was always intended to focus on the technical and psychological aspects of editing.
• Walter Murch's preference for a nuts-and-bolts approach shaped the film's direction.
• The relationship between a director and editor can be tense yet collaborative.
• Critiques from directors can enhance the editing process and lead to better outcomes.
• Editing a film about editing presents unique challenges and pressures.
• Trust between filmmakers is crucial for a successful project.
• The film has received positive feedback from audiences and critics alike.
• Festival screenings have provided valuable exposure and audience engagement.
• Future distribution plans aim to reach a wider audience through streaming services.

Filmumentaries Linktree

Her Name Was Moviola

The Elstree Project

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this conversation, Jim shares his journey into the film industry, detailing how a little film called Star Wars inspired him to pursue a career in filmmaking. He discusses his early experiences in the industry, the evolution of trailer editing, and the critical role of marketing in film success. Jim reflects on his time at Castle Rock Entertainment, the challenges of marketing films like The Shawshank Redemption, and the importance of intuition in making marketing decisions. In this conversation, the speakers delve into the intricacies of film marketing, exploring the challenges faced in promoting films like 'Shawshank Redemption' and the impact of initial reception on a film's legacy. We discuss the evolution of film reception over time, about iconic directors like Stanley Kubrick and franchises like Harry Potter. Highlighting the importance of creativity in marketing and the unique experiences that come with working on significant film projects.

Jim's book - Opening Weekend is available here!

Shawshank Redemption Trailer

All my links

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this conversation, Maryan discusses her journey into the film industry, detailing her entry point after film school, her experiences at Industrial Light & Magic (ILM), and the challenges she faced as a woman in a male-dominated field. She shares insights into the creative environment at ILM, the collaborative spirit among teams, and the innovative techniques used in films like Return of the Jedi. Maryan reflects on her post-ILM career, the changing dynamics in the industry, and the importance of perseverance and creativity in filmmaking. In this conversation, Maryan reflects on her experiences in the film industry, particularly focusing on the creative processes behind visual effects, the impact of influential figures like George Lucas, and the transition from effects work to live action and music videos.

We discuss the challenges of working in different effects houses, the importance of collaboration, and the evolution of technology in filmmaking. The conversation also touches on personal career transitions, the balance between work and family life, and the shift towards education in the arts.

All my links

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this conversation, Gus Lopez shares his journey as a Star Wars collector, discussing the profound impact of Star Wars on film and culture, the evolution of collecting through the internet, and the importance of storytelling in the collecting community. He also delves into the ambitious plans for the Saga Museum, a collaborative effort among prominent collectors to create a public space for showcasing their collections and sharing their stories with fans. In this conversation, Gus Lopez discusses the ambitious plans for a physical Star Wars museum, focusing on fundraising, educational components, community engagement, and the importance of support from Lucasfilm. He shares insights into the collecting journey, the responsibility of preserving cultural artifacts, and the vision for a location that attracts both fans and tourists. The conversation concludes with ways fans can get involved in the project. Takeaways
* Gus Lopez was a Star Wars kid who began collecting early. * The influence of Star Wars on film and culture is significant. * Collecting became serious for Gus in the early 90s. * Networking among collectors was crucial in the early days. * The Star Wars Collectors Archive was a pioneering website. * Collecting is seen as a social hobby by Gus. * Every collectible has a unique story behind it. * The Saga Museum project has been in the works for three and a half years. * Collaboration among collectors enhances the museum experience. * Legacy is important; sharing collections with the public is fulfilling. * The museum aims to shareunique memorabilia with a wider audience. * Fundraising is a primary focus, with a goal of $2 million. * Educational components will span history, art, and science. * Community support is crucial for the museum's success. * Lucasfilm's endorsement is vital for credibility and support. * Collecting requires a range of skills and experience. * The museum will preserve cultural artifacts for public enjoyment. * Choosing the right location is essential for attracting visitors. * Fans can contribute through donations and merchandise purchases. * The museum will create a space for both kids and adults to learn.

The Saga Museum

Tour of Gus's Collection

All my links

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this conversation, Jamie interviews director Paul King about his documentary 'Shine On', which explores the making of 'The Shining' and its filming locations at Elstree Studios. They discuss their personal experiences with the film, the meticulousness of Kubrick's work, and the emotional connections that fans have with the movie. Paul shares insights into the production process of his documentary, the challenges faced during filming and editing, and the support received from the Kubrick estate. The conversation highlights the nostalgia and significance of revisiting iconic films and locations.

All my links

Shine On Documentary

That Kubrick Season trailer from Film4

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube:
Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

View Details

In this episode of the Filmumentary's podcast, host Jamie Benning speaks with Sierra Dahl, the long-term partner of the late Colin Cantwell, a visionary concept artist known for his work on iconic spacecraft in films like Star Wars and 2001: A Space Odyssey. The conversation explores Colin's creative journey, his collaborations with legends like Stanley Kubrick and George Lucas, and Sierra's efforts to preserve his legacy through a revamped website and potential documentary. The discussion highlights Colin's unique approach to design, his contributions to NASA, and the impact of his work on popular culture.
* Colin Cantwell was a key figure in the creation of iconic spacecraft designs for Star Wars. * Sierra Dahl shares her personal journey with Colin and his legacy. * Colin's work with NASA included contributions to the moon landing broadcast. * He was the first graduate of the animation major at UCLA. * Colin's designs were influenced by his passion for quantum physics. * He created the concept art for Star Wars before being officially hired. * Colin's approach to design involved viewing ships as individual characters. * His work on War Games showcased his programming skills and creativity. * Sierra is dedicated to preserving Colin's legacy through a new website. * The CSJ Foundation aims to inspire youth through STEAM education using Colin's work.

Remember, if you visit colincantwell.com you can use code "FILM15" at checkout to get 15% off any of the items in the store.

All my links

View Details

In this episode of The Filmumentaries Podcast, I sit down with cinema historian and walking tour guide, Nigel Smith. Nigel is the creator of Memory Palaces, a website project dedicated to exploring and preserving the stories of London’s cinemas—both those still standing and those long forgotten. Join me and Nigel as we discuss:
* Nigel’s early love of cinema, sparked by watching Superman II as a child. * The evolution of his passion from movies to the buildings that housed them. * The rich history of London’s cinema culture, including iconic locations like the West End’s movie palaces and quirky cinemas like the Prince Charles. * Fascinating discoveries from Nigel’s research, such as a Camden cinema run by a medium who let spirits dictate the programming. * The enduring importance of community in cinema-going, from bustling matinees of the past to modern film clubs like Tufnell Park Film Club.

Nigel also shares anecdotes from his popular walking tours, where participants bring their own memories to add to the tapestry of London’s cinematic past. Whether it’s the glamour of West End premieres or the humble beginnings of Victorian-era musicals, Nigel’s storytelling brings the history of cinema to life in a truly unique way.For more on Nigel’s work and how to join one of his walking tours, visit Memory Palaces.

Links and Recommendations:
* Learn about Nigel’s walking tours: Memory Palaces * Visit the Cinema Museum in London: cinemamuseum.org.uk * Explore the Kent Museum of the Moving Image: kentmomi.org

Listen in for a fascinating conversation about the intersections of cinema, architecture, and community.

All my links

View Details

Welcome to Episode 115 of The Filmumentaries Podcast. This time I’m talking to John Bell, a concept artist and art director whose career has spanned some of the most memorable films of the last four decades. From Star Trek IV: The Voyage Home to Jurassic Park and Back to the Future II and III,

John’s work has left a significant mark on cinema. In our conversation, John takes us back to the early days of his career, when he transitioned from designing cars at General Motors to creating video game concepts at Atari, before finally finding his way into the film industry. He shares the story of how a speculative portfolio sent to ILM eventually opened the door to a career that included working alongside legends like Nilo Rodis-Jamero and Ken Ralston.

We talk in depth about his work on Back to the Future II, where he imagined a future Hill Valley steeped in a mix of Americana and 1980s aesthetics, and Jurassic Park, where he brought bold, colorful designs to vehicles, props, and even the park’s iconic branding. John also reflects on how collaboration is at the heart of filmmaking, with directors like Steven Spielberg and production designers like Rick Carter encouraging his input while shaping the look and feel of these projects. We also cover his time working on Antz at DreamWorks, where he stepped into the role of production designer for the first time, and Rango, ILM’s first animated feature.

Throughout, John shares his approach to balancing creativity and problem-solving, and the importance of pulling inspiration from both his surroundings and his past experiences. It’s a wide-ranging discussion that touches on everything from the challenges of designing for science fiction, fantasy, and animation to how the industry has changed over the years. I hope you enjoy it.

All the links
John Bell Studio

View Details

In this episode of the Filmumentaries podcast, I’m bringing you some updates on my work with ILM and sitting down with director Laurent Bouzereau to chat about his new documentary, Music by John Williams. We dive into the emotional punch of Williams’ music, the process behind crafting the documentary, and Williams’ lasting legacy as a composer. Laurent opens up about his experience working closely with Williams and the art of storytelling in documentaries, as well as the challenge of sifting through such a massive collection of iconic work.

‘Music by John Williams’ is available on Disney+ and in cinemas for limited release.

UK Screenings of the film

Slimer Article at ILM.com

All the links

View Details

Episode 113 is up. My conversation with production eesigner, art director, concept designer and VFX artist Kevin Jenkins.

We swap stories about our childhood movie experiences and the films that got under our skin—like Jaws, Star Wars, and Close Encounters of the Third Kind. We talk about how these films not only shaped Kevin's tastes but ignited a passion for storytelling and artistry that's stuck with him.
Kevin and I get into the risks filmmakers took back then. We touch on the balance between practical effects and digital tech, and why having a passionate, collaborative team is crucial to making something memorable. There's a bit on the commercialization of genres and how fandom sometimes gets too caught up in nostalgia, missing out on new, original stories.

We also cover how filmmaking has evolved with technology, especially for artists like Kevin, who transitioned from traditional illustration to digital tools. Kevin shares insights on how tech influences collaboration and creativity on set. He walks me through the role of a concept artist, the problem-solving and idea generation that goes into projects like World War Z and Edge of Tomorrow—highlighting the creative process behind creature designs and visual effects.

Kevin opens up about the challenge of finding the right design and the nuances of working within big franchises. He talks about the essential collaboration between art and costume departments to build a cohesive visual world. Finally, Kevin shares his ambition to work on a historical epic.

All the links

View Details

In this episode, I sat down with Jon Spira to dive deep into the making of his latest documentary, The Life and Deaths of Christopher Lee. If you’re a regular listener, you know Jon’s been on the podcast a couple of times before, and it’s always a treat to hear him talk about his work.

This time around, he takes us through the journey of bringing Christopher Lee’s story to life—literally.Jon kicked things off by sharing what drew him to this project in the first place. Inspired by a mix of fascination and intrigue, he became captivated by Lee's enigmatic presence, especially after rewatching a rather unusual "This Is Your Life episode" featuring Lee. Jon’s documentary doesn't just skim over Lee’s storied career, from Hammer Horror to The Lord of the Rings, but it digs into the emotional layers of a man who, despite his towering on-screen persona, was often plagued by self-doubt and a desire to control how the world perceived him.

We spent a good amount of time talking about the challenges Jon faced in portraying someone as multifaceted as Christopher Lee. It’s no small feat to condense a career that spanned over six decades into a single film. Jon wanted to avoid the usual biographical pitfalls—just ticking off achievements and movie titles—and instead aimed for something more intimate and emotionally resonant. He wanted viewers to come away with a sense of who Christopher Lee really was, beyond just the roles he played.

One of the more fascinating parts of our conversation was Jon’s decision to use a marionette puppet to represent Lee. It was an unconventional choice, but as Jon explained, it made perfect sense for a subject who was so concerned with how his story was told. He originally toyed with the idea of CGI but felt that it lacked the emotional warmth he was looking for. So, he collaborated with Andy Gent, known for his work with Wes Anderson and Tim Burton, to create a beautifully crafted puppet of Lee. And who better to provide the voice than Peter Serafinowicz, whose deep, rich tones helped bring that puppet to life. Jon’s approach allowed Lee to narrate his own story, with other voices occasionally chiming in to add a touch of warmth and gentle contradiction. It’s this kind of creative storytelling that sets Jon’s work apart—finding new ways to tell familiar stories.Jon and I also delved into some of the broader challenges facing filmmakers today.

The industry is in a strange place right now, with budgets tightening, streamers changing their strategies, and the rise of new technologies like AI reshaping the landscape. We had a lively discussion about the role of AI in filmmaking. For one specific sequence in the film—recounting a moment when Christopher Lee witnessed the last public execution by guillotine in France—Jon’s team used AI-assisted animation to breathe life into archival photos. It’s a decision that has sparked some controversy, especially from certain corners of the American press, but Jon sees it as just another tool in the creative toolkit.

He acknowledges the fears around AI and the impact it might have on jobs, but he also believes that, when used thoughtfully, it can elevate storytelling in new and exciting ways.Throughout our conversation, a recurring theme was empathy—something that Jon clearly values in his approach to documentary storytelling. He talked about how he always aims to create a sense of connection between the audience and his subjects, to show their humanity in all its complexity.

For Jon, it’s not just about documenting facts; it’s about exploring how those facts feel, and how they shape the person behind the public image. In The Life and Deaths of Christopher Lee, this approach results in a film that isn’t just a tribute to a cinematic legend but also a portrait of a man grappling with his own insecurities, just like the rest of us.

We also touched on the state of cinema today—how trends are shifting, the uncertain future of theatrical releases, and what that means for filmmakers who, like Jon, are passionate about telling unique, challenging stories. It’s clear that Jon sees the current moment as both a challenge and an opportunity—a chance to push boundaries and keep audiences engaged in new ways, even if it means embracing some unconventional methods along the way.All in all, our chat was a rich, multi-layered conversation, touching on everything from the intricacies of puppetry to the big questions about where the film industry is headed. It’s a must-listen for anyone interested in the art of documentary filmmaking, the evolving landscape of cinema, and the enduring allure of a complex, larger-than-life figure like Christopher Lee.

View Details

In this conversation, TyRuben shares his journey into the world of visual effects and concept design, detailing the profound impact of films like '2001: A Space Odyssey' on his aspirations. He discusses the importance of self-permission in pursuing one's dreams, the skills he developed over the years, and his experiences at Industrial Light & Magic (ILM). He emphasizes the significance of collaboration, the fast-paced nature of concept design, and the evolution of CGI in filmmaking. He reflects on his work with industry legends like George Lucas and James Cameron, the transformative experience of working on 'Avatar', and his eventual transition into education and engagement with artificial intelligence.

Key moments:
* Seeing '2001: A Space Odyssey' sparked my interest in visual effects. * Self-permission is crucial for success in any field. * Building a diverse skill set is essential for a career in VFX. * Collaboration is key in the creative process. * The fast-paced environment at ILM taught me to adapt quickly. * Pitching ideas is a vital part of the creative process. * Working with George Lucas was a dream come true. * The experience on 'Avatar' solidified my role in the industry. * Teaching is a natural progression in my career.

All the links

View Details

Today’s conversation is one I’ve had in the bag for a couple of months now . I had the absolute pleasure of sitting down with Andrew Whitehurst.

Andrew’s journey into the visual effects industry is one that really resonates with me, especially when he talks about his childhood fascination with movie magic and a certain BBC documentary. Yes, THAT one! Like many of us, it all started with a spark of curiosity. He pursued that passion at art college and gained experience in various roles, which eventually led him to become a visual effects artist. His early work on projects like Tomb Raider 2 and Troy paved the way for his role as VFX supervisor on Ex Machina, ultimately winning him an academy award.

In our conversation, I got to dive deep into Andrew’s experience working on films like Ex Machina and Indiana Jones and the Dial of Destiny. We talked about the challenges of creating realistic CGI characters and the meticulous attention to detail that’s required for modern audiences. Andrew shares that belief in the value of using traditional tools like pencil and paper in the design process, and on the importance of looking beyond the screen to other forms of art for inspiration.

Through our discussion, Andrew provided some great insights into the decision-making process for visual effects and how to strike that delicate balance between realism and audience expectations.

Key points:
* A love for movies and a fascination with visual effects can lead to a career in the industry. * Art college and self-learning are valuable for developing skills in animation and 3D software. * Opportunities may arise in unexpected ways, such as working as a runner or doing graphic design for DVD menus. * Being open to new roles and challenges can lead to career progression and working with renowned directors. * Enjoying the process and having a good working relationship with colleagues are key to success in the industry. Ex Machina was a highly ambitious film with a tight shooting schedule and minimal pre-visualization and concept work. * The design process for Ava focused on creating visual effects that could be executed like a regular piece of drama. * The decision to use CG for Ava's head was made during the editing process, allowing for more creative control and a stronger visual impact. * The design of Ava was influenced by a variety of sources, including racing car suspension, modernist sculpture, and human anatomy. * The use of pencil and paper in the design process is a valuable tool for exploring ideas and understanding visual concepts. Taking the time to manually create something allows for thinking and feeling, which can lead to better results and creative collaboration. * Observing the world and engaging with different forms of art can enhance creativity and provide inspiration for visual effects. * Recreating a young version of a character like Indiana Jones requires a combination of techniques, including face swapping and machine learning. * The use of high-resolution scans and archival material can help ensure accuracy and detail in visual effects. * Closure on a project is important for maintaining mental health and allows for focusing on new challenges.

All the links

View Details

This is a short bonus episode in which I interview author Kelly Knox about her co-authoring of "Return of the Jedi - A Visual Archive".

Kelly Knox discusses her love for the Star Wars movies, particularly the original trilogy, and her experience co-writing the visual archive book for Return of the Jedi. The book focuses on the behind-the-scenes details and connections that branched out from the film. Kelly shares her favorite discoveries while researching for the book and the challenge of balancing the desire for detail with limited space. She also hints at future projects and her excitement for attending Star Wars Celebration in Japan.
keywordsStar Wars, movies, original trilogy, Return of the Jedi, visual archive, behind-the-scenes, connections, research, book, interviews, panels, Japan
takeaways* Kelly Knox fell in love with the Star Wars movies at a young age and has been a fan her whole life. * The visual archive book for Return of the Jedi focuses on behind-the-scenes details and connections to other Star Wars projects. * Kelly enjoyed discovering new facts and information while researching for the book. * She has plans for future Star Wars books and is looking forward to attending Star Wars Celebration in Japan.

A video version will also be available on youtube.

Enjoy!

View Details

In this episode, Jamie Benning interviews Doug Weir and Kieron Webb from the British Film Institute (BFI) about the restoration and screening of the 1933 classic film King Kong - 8th and 16th Sept 2024.

They discuss the historical significance of the film, its pioneering visual effects, and its impact on cinema. They also talk about the process of restoring and preserving old film prints, including the challenges and techniques involved. The conversation highlights the importance of film restoration and the BFI's efforts to preserve and showcase classic films. The conversation explores the process of preserving and restoring classic films, with a focus on the upcoming screening of King Kong at the BFI Southbank.

They highlight the collaboration with labs like Photochem and YCM Labs, which have a long-standing history in preservation and restoration work. The conversation also touches on the challenges of finding printing elements for preservation and the significance of preserving the original cinematic experience.

BFI King Kong tickets.

Glossary of film related terms.

All the links

View Details

Jett Green shares insights into her upbringing and her journey into the world of matte painting, highlighting her work on Labyrinth, Howard the Duck, Temple of Doom, and The NeverEnding Story. She also discusses the collaborative and supportive culture at ILM, emphasizing the importance of teamwork in achieving remarkable results. Jett reflects on her transition from traditional painting to digital matte painting, as well as her current work as a fine artist in Maui.

Links
All the filmumentaries links
https://www.caroleenjettgreen.com/
https://viewpointsgallerymaui.com/
Nigel Smith Cinema walks in London

View Details

For this episode, the first of three in August 2024... three because in July you only got one of the usual two episodes. Due to me being away with my family. For the first of these three episodes you’ll hear my interview with owner of Rancho Obi Wan, former Lucasfilm fan relations officer, author and all round nice guy, Steve Sansweet.

I met Steve when I visited Rancho Obi Wan back in April during my epic visit to California. I still can’t believe that all happened. We chatted briefly and I asked if he would consider coming on the podcast. So, in June I had the chance to chat with him.

As a reminder, I put out on social media that I was going to chat with Steve and gave you the opportunity to post a question. So look out for that at about 80-85% into our conversation.

Links:

Donate Button

All the links

Rancho Obi Wan have a big fundraiser taking place in Seattle Oct 5th

View Details

Last episode you heard part one of my conversation with Nilo Rodis Jamero, design legend and wonderful person. For this episode, number 106, the first of July 2024 you’ll be hearing part two of our chat…

On entering the gaming industry Nilo's focus was always about inspiring and guiding production teams to craft original and iconic characters and worlds. He’s real advocate for originality and imagination in design, rather than leaning on copying existing designs or using AI to assist those designs.
In our conversation, Nilo shares his experiences working with the legendary John Hughes, emphasizing the value of building relationships and understanding a director’s vision.

We also delve into the crucial role of production design in film and the unspoken code of acceptance when a director gives their nod of approval to a set.Nilo believes that good design should shake the viewer to their core, creating a unique experience. This means a lot of iterating and refining, but through this rigorous process, truly groundbreaking concepts can emerge. Collaboration is another cornerstone of Nilo’s philosophy. He believes that the creative process thrives on the participation of diverse talents, each contributing their unique expertise to the project.

This collaborative spirit is what drives innovation.Now you’ll know if you listened to my chat with Nilo in 2021 and last episode that he’s met a lot of key figures in the industry, in this chat he talks about n meeting influential figures like Hayao Miyazaki and Tezuka Osamu. These encounters have not only inspired him but also provided valuable insights into his design and storytelling work. But it’s not all work for Nilo—his passions outside of work, like Formula One racing, bring joy and fresh perspectives into his life. There’s a great bit at the end of this chat when I tell Nilo I work in F1, and he becomes the fan for a moment.So, buckle up and get ready to dive into the creative mind of Nilo Rodis-Jamero. This episode is packed with insights, inspiration, and a whole lot of passion for the art of design.

Donate Button

All the links

Peter Kuran's "The Thing" Kickstarter

View Details

In this episode of the Filmumentaries podcast, host Jamie Benning interviews Nilo Rodis-Jamero, a designer and production designer known for his work on films like The Empire Strikes Back, Return of the Jedi, and Johnny Mnemonic.

They discuss Nilo's experiences working with George Lucas, Phil Tippett, and Joe Johnston, as well as his collaborations with other renowned designers like Eiko Ishioka and Hayao Miyazaki. Nilo shares insights into his design process and the importance of simplicity and iconicity in his work. The conversation also touches on Nilo's involvement in the design of the character Buz Lightyear in Toy Story and his experiences as a production designer on Johnny Mnemonic.

In this part of the conversation, Nilo discusses the challenges of working on movies with hard deadlines and limited budgets. He shares his experiences working with George Lucas and John Hughes, and how their approaches to filmmaking differed from the Hollywood norm. Nilo also compares working on Johnny Mnemonic and Explorers, both of which faced production difficulties. He highlights the importance of creative freedom and the impact of budget constraints on the filmmaking process. Nilo also shares insights into the differences between the film and video game industries, particularly in terms of discipline and the lack of a hard deadline in game development.

This is only part 1 of a long conversation. Part 2 is coming up soon!

Takeaways
* Nilo Rodis Jamero has had a diverse and influential career as a designer and production designer in the film industry. * He has worked on iconic films like The Empire Strikes Back, Return of the Jedi, and Johnny Mnemonic. * Nilo has rubbed shoulders with renowned designers and filmmakers, including George Lucas, Phil Tippett, Joe Johnston, Eiko Ishioka, and Hayao Miyazaki. * His design process focuses on simplicity and creating designs that are easily recognizable and memorable. * Nilo's work on the character Lunar Larry (who became Buzz Lightyear) in Toy Story showcases his ability to bring a character to life through design. * His experiences as a production designer on Johnny Mnemonic highlight the challenges and dynamics of the filmmaking process. Movies are often made with hard deadlines and limited budgets, which can pose challenges for filmmakers. * Working with directors like George Lucas and John Hughes, who prioritize creative freedom, can provide a different filmmaking experience. * Films like Johnny Mnemonic and Explorers faced production difficulties, which affected their final outcomes. * The film and video game industries have different approaches to discipline and deadlines, with games often lacking a hard deadline. * Budget constraints can impact the creative process and the ability to achieve the desired vision for a film.

Sound Bites
* "I like design that are very simple to digest and then reward the viewer with more details as they zoom in." * "I work in an increment of a month. So, if, you know, can we agree on my terms?" * "The essence of that character is right there. Facially, like his expressions, his costume, his stance, like it's all there." * "Movies are literally backed into a hard date, which is the release date." * "The way Hollywood movies are made, it's the opposite of that." * "I learned how to do movies the way George makes movies."

Donate Button

All the links

View Details

Hi, this is a bonus episode.

Sometimes I get invited to interview a particular behind the scenes artist and I've decided I should say yes to them and get them out as bonus episodes.
So in this bonus episode, I spoke with stunt coordinator, Krista Perry. Krista is a, native Californian, who grew up travelling the country at the age of eight for competitive swimming. Finishing out her career as an All American Swimmer in the state of California. She is now a stunt performer and stunt coordinator, most recently working on Killers of the Flower moon and the series Reservation Dogs.

So here's my conversation with Krista. I hope you enjoy it.

Takeaways
* The stunt industry is male-dominated, but Krista found her way into it through her background as an athlete. * Discipline and teamwork are crucial in both athletics and stunts. * Body awareness is important in stunts, and technology allows performers to analyze their form and make improvements. * Working with actors who lack physical awareness can be challenging, but having a double provides a backup plan. * Script breakdown and casting for stunts involve finding the right people with the necessary skills and background. * The adaptation to VFX in stunts has allowed for more creative possibilities. * Trust and relationships are key in the stunt industry, and working with familiar team members fosters a sense of shorthand and communication. * Working on both big and small productions offers different experiences and opportunities for learning. * There is a potential for Oscars for stunts to recognize the hard work and contributions of stunt performers.

Donate Button

All the links

View Details

Episoe 104 - This time I chat with Ahsoka producer and ILM VFX Supervisor, Richard Bluff along with his colleague Matthew Wood, Supervising Sound Editor.

We chat about the challenges of making something fresh within the Star Wars universe.
How particular ships and creatures were approached from both a VFX and Sound point of view.
And how Dave Filoni always needed a two way street between the two departments so that each could feed into the other.

Ahsoka is available to watch on Disney+.

Enjoy!

Donate Button

All the links

View Details

My guest for this second episode of May 2024 is production designer Nathan Crowley. If you don’t know his name, you will definitely know and most likely love, his work..
* Behind Enemy Lines (2001) * Insomnia (2002) * Batman Begins (2005) * The Prestige (2006) * The Dark Knight (2008) * John Carter (2012) * The Dark Knight Rises (2012) * Interstellar (2014) * Dunkirk (2017) * The Greatest Showman (2017) * First Man (2018) * Tenet (2020) * Wonka (2023)

Nathan is an incredibly talented artist that is able to create amazing worlds on screen. He’s also a great guy and very easy to talk with. We had a great conversation just a week or so ago. It’s avery fluid chat, but we do cover a few of the milestones in his career. Starting with Spielberg’s Hook and finishing up on Wonka and Wicked. With much chat about Chris Nolan’s films in between. Enjoy!

Donate Button

All the links

View Details

For this episode, number 102, I am speaking to to gentleman that worked on the visual effects for Masters of the air, the Apple TV series which is a continuation of Band of Brothers and The Pacific. This time tackling World War Two airmen and their various missions. So I chat with Xavier Bernasoni who was one of the vfx supervisors on the show for DNEG and also two Steve jelly of Dimension studio who is responsible for a lot of the virtual production stuff, the big volume that you'll know from shows like The Mandalorian. Well it's now of course being used in many different ways in many different productions and not necessarily the ways that you would imagine...

I hope you enjoy the conversation.

Donate Button

All the links

View Details

In April 2024, I embarked on an unforgettable journey to California, starting with a visit to Skywalker Ranch, Lucasfilm and Rancho Obi Wan. And unfogettable three days.

While at Skywalker Ranch I met with Sound Supervisor, Mac Smith and legendary Model Maker, Lorne Peterson.

This episode is a report from those three days.

Full written report with photos

Donate Button

All the links

Skywalker Ranch Archives Fly-through from the blu ray boxset

Archives Tour with Don Bies from the laserdisc boxset

View Details

For this the 100th episode it seems fitting that it’s someone who’s name I’ve known since I was 4, 5 and 6 when my imagination was first sparked, looking through my Empire Strikes Back and Return of the Jedi comics and magazines.

That name is of course Phil Tippett, one of those incredible artists whose work transcends the films he’s worked on. His work is always full of a singularly tactile, grunginess that I love. Whether it’s the chess pieces in Star Wars, the Tauntauns or Walkers on Empire, the Rancor in Jedi, the Dinosaurs in Jurassic Park or the bugs in Starship Troopers, Phil’s work is always imbued with such great design and character. I’ve been an admirer of his work as I said, for decades now. And I was given the opportunity to speak with him in February of this year, 2024. I knew immediately I should save that conversation for my first milestone of 100 episodes.

Thanks to everyone for their support since I've been making this podcast. It means the world to me.

Donate Button

All the links

Michael Hewitt Brown Marathon Donation Page

View Details

For episode 99 I interviewed friend, David Whiteley. If you don't know David, you should! He's a news presenter, but also a huge Star Wars Fan. And, has made two fantastic documentaries about the subject. Firstly "The Galaxy that Britain Built" and secondly "Toy Empire". Both are a must-watch for fans like us.

David also produced a book which gathers together the interviews his conducted for "The Galaxy that Britain Built". It's available on Amazon here. Check it out! And then BUY IT!

Talking of books, don't forget that Justin Berger and I have now pre-released our Return of the Jedi - Unauthorized Timeline book as an ebook on Amazon.

Donate Button

All the links

View Details

For episode 98, I am joined by my guest from episode 2, Giles Terera, actor, writer, musician and great friend of mine. He suggested to me a few months back that we should do a commentary on The Empire Strikes Back. So last month that's just what we did. I went up to central London to his flat, armed with two mics and we sat at watched and waffled over our favourite film.

I hope you enjoy the episode. If you want to watch along, hit play on the movie just as the intro music (after my spoken introduction) ends. Or just listen to the episode for some chat and fun insights. I reckon we'll do a Return of the Jedi commentary at some point. Particularly because Giles has worked with several of the British actors in that movie.

Enjoy!

Donate Button

All the links

View Details

In episode 97 of the Filmumentaries podcast, I interview helicopter stunt pilot Fred North. Fred shares his journey from a childhood fascination with helicopters to becoming a successful stunt pilot in Hollywood. He emphasizes the importance of creating opportunities for oneself and having a shark-like drive to keep moving forward. Fred also discusses the art of flying a helicopter and the importance of connecting with the machine. He shares insights on working with directors and understanding their vision to offer creative solutions.

Takeaways
* Creating opportunities and having a drive to succeed are key to achieving success. * Connecting with the machine and understanding its nuances is crucial in flying a helicopter. * Understanding the director's vision and offering creative solutions can make a helicopter pilot invaluable in the film industry. * Embracing mistakes and learning from them is essential for personal and professional growth.

Chapters00:00 Introduction and Patreon Support
03:35 First Encounter with Helicopter
06:27 From Childhood Fascination to Becoming a Stunt Pilot
08:20 Shark-Like Drive and Embracing New Opportunities
10:42 Dealing with Mistakes and Learning from Them
12:30 The Importance of Having an Open Mind and Connecting with People
14:24 Writing the Book to Share His Journey
25:08 The Role of Instinct and Connection in Flying
28:21 Finding a Way into the Film Industry
35:25 Understanding the Director's Vision and Offering Creative Solutions
41:06 QR Codes in the Book and Making it Entertaining
42:18 Closing Remarks and Future Episodes

All the links

View Details

I hope you enjoyed my archival interview episodes in December 2023, one with Producer Robert Watts, the other with actor Garrick Hagon.

Well now we are back to some recent interviews, I can tell you I’ve been busy lining these up ready for 2024!

So… for the first, its a pretty big one, well it’s a very big one - Thanks to the lovely folks at ILM, I was given the chance to interview director Gareth Edwards and his FX crew on The Creator.

I’d be trying to get Gareth on via a mutual friend of ours but given Gareth is currently doing press about the nominations the film has received, so it was perfect timing.
So you’ll hear my conversion with Gareth along with VFX supervisors Jay Cooper, Ian Comley, Charmain Chan, Andrew Roberts and Jay Cooper as well as SFX supervisor Neil Corbould.
There is an exclusive video version of the podcast on the filmumentaries youtube channel so that you can see all of us talking while I paint the interviews with some of the VFX breakdown clips ILM kindly provided. So if you can, head over to youtube to check that out.

So, we talk about:
* Gareth’s unique shooting techniques that enable large scope on a relatively low budget. And also the now famous use of the pro-sumer camera. * How the collaboration between the on-set crew and VFX teams is crucial for achieving seamless integration of practical and digital elements. * How anchoring VFX work to practical elements in the frame enhances the realism and believability of the visual effects. * How real-world locations can provide inspiration and add authenticity to the film's design and visual effects. * How the future of filmmaking with VFX lies in finding innovative ways to combine practical and digital techniques and finding the best tools to make the pipeline more efficient. * We finish by talking about award recognition and what it means to them.

All the links

View Details

Ok, this is another one from the archives, but as with the Robert Watts recording, I’ve been wanting to put this one out in podcast form for a while too.

This is a conversation I had with actor Garrick Hagon back in 2015. If that name doesn’t ring a bell, how about Biggs Darklighter.

Yes, Garrick is well known for his mostly deleted scenes from Star Wars in which he plays Luke’s best pal. I’d met Garrick in the green room at a Star Wars Trilogy day at the BFI southbank earlier that year. I’d been invited there by my old mate Toby Phlipott, Jabba puppeteer and all round good guy.

Garrick and I got chatting about how I’d done an interview with Toby and created what turned out to be a very popular video from it. So I suggested we do the same. In fact both of those videos are still on my vimeo channel. So I’ll also link to that in the show notes.

As with all interviews, when making a video you often cut out certain bits that you don’t need. But with a podcast you can make it more long form. So that’s what I’ve done here. The interview was done over the phone, so it won’t sound as good as some of my more recent episodes. But it’s still definitely very listenable.

All the links

View Details

This is one from the archives, but I’ve been wanting to put this out in podcast for for some time now.

Its my interview with the legendary producer Robert Watts from back in July 2018.

My cameraman buddy Paddy and I visited Robert at his home, and a lovely home it was too. He was on such great form and just a delight to be with.

We arrived armed with some F1 signed caps from Hamilton and Vettel because a little birdy had told us he was a motorsport fan. And he was absolutely delighted. That little birdy was actually David Whitely, who is going to be a guest on this very podcast in the coming weeks.

It wasn’t of course ever intended to be a podcast, so you’ll hear my questions slightly off mic, but of course this is all about Robert and his work on 2001, Thunderball, Star Wars, Raiders, The Empire Strikes Back and Return of the Jedi etc, so I'm sure you can forgive some audio irregularities.

As the recording starts, Robert and I are talking about Stuart Freeborn and his creation of Yoda. You’ll also hear friend of the podcast Paddy Tyndall ask the occasional question. I hope you enjoy it.

All the links

View Details

Uncover the secrets of Mission Impossible – Dead Reckoning Part 1's breathtaking visual effects. VFX supervisors Jeffrey Sutherland and Simone Coco share insights on collaboration, challenges, and the art of crafting cinematic magic. Step behind the scenes and explore the dynamic world where reality meets creativity.

I was recently given the opportunity, by the folks at ILM, to talk to two VFX supervisors that worked on Mission Impossible Dead Reckoning Part 1. Namely Jeff Sutherland and Simone Coco. So as you might imagine I jumped at the chance and within 24 hours we were chatting.

In this conversation we discuss their work on Mission Impossible Dead Reckoning Part 1 and the unique challenges they face. They talk about the impact of practical elements on their VFX work, the importance of creating scale and believability, and the balance between realism and creativity. We also discuss the collaboration with stunt teams, the adaptation to new camera technology, and the always evolving role of VFX in filmmaking.

They share their experiences in finding creative solutions and maintaining freshness and objectivity. Just so that you know who is who, Jeffrey is the first to speak after me, and Simone is the one with the Italian accent.

All the links

View Details

Now, for this exciting episode, I had the pleasure of speaking with Tom Spina.

Tom is an avid Star Wars enthusiast, restoration specialist, and the founder of Tom Spina Designs and Regal Robot. In our conversation, we delve into his early love for Star Wars and those toys, his passion for computer graphics on his Amiga, his brief stint as a TD in live TV, and his current work in restoring historical movie props. We also touch on his Star Wars Celebration panel, his interactions with the film saga's crew, props, and monsters.

It's a fascinating insight into his creative process, and I hope you enjoy our conversation.

All the links

View Details

For this episode, the second of November 2023, I spoke with director, producer and editor Jeremy Coon.

Jeremy was the producer on the 2007 film Napoleon Dynamite. But I spoke to him in his editor director capacity about the new documentary “A Disturbance in the Force’, which I was lucky enough to see at the UK premiere in London last week.

The documentary chronicles the story behind the bizarre and legendary Star Wars Holiday Special. The 1978 TV special full of growling wookies, odd dance numbers and a “revisit” of sorts to the cantina, run be Bea Arthur usual and awkward appearances from the main cast of Star Wars.

This is a shorter than usual episode, but I wanted to get it out to you before the documentary is released on 5th December

So here is my conversation with Jeremy Coon, director and editor of Disturbance in the Force. I hope you enjoy it.

All the links

View Details

In this episode (number 90!!), I share an enlightening conversation with the creators of the "RoboDoc" series - a comprehensive documentary on the iconic sci-fi film, RoboCop. The team includes directors Chris Griffith and Eastwood Allen, and producer Gary Smart.

The trio talks in-depth about how they transformed their passion project into a widely acclaimed series over several years. They reveal that their journey was far from smooth, battling legal issues, budget constraints, and meeting stringent fair-use criteria, among other challenges. Their tenacity to produce a series that deeply analyses every scene of the cult classic is ultimately what led to the final output.
The documentary features over 100 interviews with cast, writers, producers, special effects designers and countless crew members of the Robocop universe to provide fans with an incredibly detailed and insightful look into this much-loved franchise. The creators finally discuss distribution, the importance of physical media, and their hopes for future projects.
In the meantime “stay out of trouble”...

ROBODOC: The Creation of RoboCop. A 4-part limited series detailing the making of the seminal sci-fi movie, RoboCop (1987)STREAMING NOW:

🇬🇧Prime Video via The Icon Film Channel

🇺🇸Prime Video, Apple TV, Google Play and other VOD via Screambox.

💿 BLU-RAY
🇬🇧 SPECIAL EDITION (REGION B)

🇺🇸 COLLECTOR’S EDITION (REGION A)

All the Filmumentaries links

View Details

If you listened to episode 87 you’ll have heard my conversation with the British Film Institutes Douglas Weir. He’s Technical and Remastering lead there and does great work with his team to restore and release films from British classics to lost gems.

He invited me back to talk to him and his colleague Vic Pratt - film historian and Video Publishing Producer.

So I got together with them both at BFI Southbank last week to talk about some of their new projects.
One of their blu ray releases out this month is Short Sharp Shocks a wonderful collection of short films which… well I won’t say any more just now, you’ll hear everything about it in out conversation.

Just grab a glass of brandy, get a blanket and pull your chair closer to the fireplace. Enjoy.

All the links!

View Details

For this episode, number 88, I spoke with Mac Smith about the path he took to his career as Supervising Sound Editor and employee of Skywalker Sound, via marching bands, a chance meeting with Walter Murch, being propelled into the industry working for Robert Zemekis on Castaway. And so much more.

Listen in for the full story.

Thanks to the folks at Skywalker Sound for helping set this up.

All the links!

View Details

For this episode, number 87 I spoke to The British Film Institute’s Remastering and Technical lead Douglas Weir. Doug had recently introduced a screening of Jaws at the BFI back in June of this year. It wasn’t just any old print of Jaws, it was a near pristine dye transfer print that a colleague of Doug’s found in the archive.

After the screening which was amazing, I contacted Doug to see if he’d come on the podcast to talk about that print and about his career at BFI. It turns out he is already a listener of the podcast and was very keen to chat.

So Doug invited me up to the southbank based BFI and along with his colleague, I got a back stage tour, checking out all the old projectors and film reels (I’ve posted some photos on the filmumentaries Instagram page). Doug and I then sat down for an hour for a chat, covering a multitude of topics including Jaws, the limits of restoration from both a techinical POV as well as what should be restored Vs what can be achieved.

I hope you enjoy it.

All the links!

View Details

For this episode, number 86, I spoke with VFX Supervisor Charmaine Chan.

We chatted back in mid June 2023 on a boiling hot day here in London. We talked about Charmaine's entry into the industry via running a website about a particular girl group that you might have heard of.

She then went onto to be a researcher and compositor at ILM, and most recently a VFX supervisor on Gareth Edwards' visually dazzling, “The Creator” - out on 29th September 2023.
I'm very much looking forward to seeing it.

Listen in for the rest of the conversation.

Links
Videos on Vimeo * Return of the Jedi Timeline Book * Etsy Shop - Buy your Jabba print here * Filmumentaries Merch * Support the Podcast on Patreon * Linktree*

View Details

For this episode, number 85, the firstone of September 2023, I have VFX supervisor of choice for both Spielberg and Scorcese, namely Pablo Helman.

Pablo and I spoke back in June 2023 about his career path and his work for Stephen and Marty. There will be a video version available for those of you that contribute via patreon on the second tier.

Pablo left his home of Argentina in the early 1990s to work in the VFX industry in California. He initially worked on films like Apollo 13 and Strange Days before joining ILM in 1996.

He went on to work on Jurassic Park 2, Contact, Saving Private Ryan, The Phantom Menace and more recently The Irishman, Mank and The Fablemans. A fascinating guy.

Links
**Return of the Jedi Timeline Book - Register your interest!

Etsy Shop - Buy your Jabba print here

Filmumentaries Merch

Support the Podcast on Patreon
Linktree**

View Details

This time I have the pleasure of sharing my conversations with Skywalker Sound’s Co-Supervising Sound Editor Matthew Wood, Sound Designer David W Collins and Re-recording Mixer Danielle Dupre.

I spoke with Matthew and David together and then separately with Danielle.

Matthew and David are Emmy nominated for Mandalorian Chapter 24, Matthew his also nominated for his work on Obi Wan Kenobi Part VI (6)

Danielle has also been nominated for her work on Obi Wan Kenobo part 6.

So first of all you'll hear my conversation with Matthew Wood and David W Collins then after the ads you’ll hear my conversation with Danielle.

I hope you enjoy it.

Links
**Return of the Jedi Timeline Book - Register your interest!

Etsy Shop - Buy your Jabba print here

Filmumentaries Merch

Support the Podcast on Patreon
Linktree**

This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

View Details

For this, the second special Emmy nominees episode I got to speak with friend of the podcast and former guest VFX Animation Supervisor Hal Hickel (check out episode 68 for that conversation) along with Grady Cofer, Production Visual Effects Supervisor.

We chat about their work on the show, the balance of innovation and tradition, the use of certain tools of their trade and the collaborative nature of VFX work.

Links
**Return of the Jedi Timeline Book - Register your interest!

Etsy Shop - Buy your Jabba print here

Filmumentaries Merch

Support the Podcast on Patreon
Linktree**

This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

View Details

Welcome to this special episode of the Filmumentaries Podcast. Episode 82 in fact.

Today is a small diversion from the usual. Rather than film history, I have three guests who are very much part of the film now, or TV now. These three gentlemen are at the forefront of VFX on Disney+’s Emmy award nominated show, Andor. Genuinely one of my favourite shows for a long time. So for this month, August 2023, there will be three episodes, all conversations with ILM VFX and Skywalker sound artists and technicians in celebration of their Emmy nominations.

Now if you are a regular listener to this podcast you’ll know that I hosted a panel at Star Wars celebration here in London back in May - I mention it to literally anyone that’ll listen. HAHA. On that panel were VFX experts Mohen Leo, TJ Falls and Scott Pritchard as well as special effects supervisor Richard Van Den Bergh. Now due to a complication backstage the panel was not recorded save for a few snippets that the ILM team shot.

So I dedicated a whole episode to Richard Van Den Bergh about his career in special effects. That was episode 80 . And while not an episode specifically about Andor, we did talk about the show a little. (do check it out)

Then very recently ILM got in touch and asked if I’d like to interview the three VFX guys on the podcast. They along with Richard have been nominated in the category of Outstanding Special Visual Effects In A Season Or A Movie. I immediately said yes and within 24 hours I was chatting with these wonderful artists again.

So here’s my conversation with Mohen Leo - Production VFX Supervisor, TJ Falls, VFX Producer and Scott Pritchard, ILM VFX supervisor…

Links
**Return of the Jedi Timeline Book - Register your interest!

Etsy Shop - Buy your Jabba print here

Filmumentaries Merch

Support the Podcast on Patreon
Linktree**

This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

View Details

For this episode, the second of July 2023, I spoke with Puppet Film Director and Creature Effects Artist Kevin McTurk. Kevin and I first connected on Facebook a couple of years ago, maybe it was more than that. We’ve been trying to find a suitable time to have him on the podcast since then.

Well now is the time as Kevin has a project on Kickstarter as we speak. Kevin directs these amazing short films using puppetry and wonderfully atmospheric effects.

He’s a veteran of creature effects in movies like Batman Returns, Jurassic Park, Galaxy Quest and King Kong. However, he is, as I said also a director of these amazing short films. He started with The Narrative of Victor Karloch a victorian ghost story. Then there was The Mill at Caulder’s End in a similar vein. The one that I first spotted was his third film “The Haunted Swordsman”. It’s quite extraordinary. You’ll hear us talk about it in the interview.

Kevin’s latest project which is currently on Kickstarter is “Grylu Sker” an Icelandic folklore story. As of 25 July it has 18 days to go and is 75% funded. Do check it out.

During the interview Kevin’s connection went a few times. So when I was editing the podcast I got back in touch with Kevin to help me fill in the gaps. So you’ll hear me a couple of times, just clarifying what Kevin was saying. It shouldn’t be too distracting.

So here’s my interview with Puppet Film Director and Creature Effects Artist Kevin McTurk. I hope you enjoy it.

Grylu Sker - Kickstarter
The Spirit Cabinet

Other links
**Return of the Jedi Timeline Book - Register your interest!

Filmumentaries Merch

Support the Podcast on Patreon
Linktree**

This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

View Details

For this episode, the first of July 2023, I spoke with Special Effects Supervisor Richard Van Den Bergh.

I met Richard when he was one of the panellists on the Andor SFX/VFX panel at Star Wars Celebration in May this year.

Richard is clearly an expert of his craft, whether it’s model making, making atmospherics or supervising. He’s had some much experience from starting in the industry on Ridley Scott's Legend, to his most recent work on Andor for which he was nominated for a Bafta.

I hope you enjoy our conversations.

Links
**Return of the Jedi Timeline Book - Register your interest!

Filmumentaries Merch

Support the Podcast on Patreon
Linktree**

This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

View Details

My conversation today is with long time Lucasfilm film employee Miki Herman. She was engaged at Lucasfilm during the production of Star Wars and stayed long enough to work on the Ewok and Droids cartoons.

She worked on the original Star Wars trilogy as production assistant, production coordinator and unit production manager, respectively. She was later a consultant for The Star Wars Holiday Special and became co-executive producer of the Star Wars Droids and Ewoks animated series.

Now, I always feel like I make a connection with my interviewees and Miki is no exception. She was smiling and occasionally laughing. But something seemed a little off. I’m not sure if my connection was delayed to her or something else was going on. But sometimes Miki's answers were quite short.

So, todays conversation as I mentioned, is a little shorter than usual. But still worth your time.

Big thanks for Miki for her time.

Links
**Return of the Jedi Timeline Book - Register your interest!

Filmumentaries Merch

Support the Podcast on Patreon
Linktree**

This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

View Details

For this episode, number 78, I spoke to composer Stu Phillips.

Stu was born in 1929, is an American composer of film scores and television series theme music, He’s also a conductor and record producer. Though he is probably best known for composing the theme tunes to the television series Battlestar Galactica and Knight Rider.

After a career spanning decades, in 2002, he published his autobiography Stu Who?: Forty Years of Navigating the Minefields of the Music Business. It's well worth checking out.

Stu and I had tried to arrange a chat for months. I was unwell at one point, then I had some internet problems, then his phone line went down. But we finally managed to do it in May this year (2023).
I have to say it was a genuine pleasure chatting to Stu. And as you’ll hear, he is as sharp as a tack at 93 years old.

At one point in the conversation Stu and I talk about how artists borrow from each other all the time. Hang around at the end of this episode to hear what I found out after a deep dive into one particular track of Stu’s.

As with my conversation with Peter Kuran (episode 75), I was having internet problems at the time, so there are a couple of drop outs. Some I’ve managed to edit around, others I haven’t so if you hear any little jumps in the conversation, that’s why.

Links
**Return of the Jedi Timeline Book - Register your interest!

Filmumentaries Merch

Support the Podcast on Patreon

Stu's Book**

This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

View Details

Ok so for this episode, number 77 (cool number) I have a guest host in the shape of my co-author on the new Return of the Jedi Unauthorized timeline book, Justin Berger.

So the conversation you’re about to hear is our interview with Jedi’s co-producer Jim Bloom about his time working on the film. We are so happy to say that he also wrote a wonderful introduction for the book.

So today, 25th May, was supposed to be the release day of the book. Unfortunately Amazon let us down and we’ve had to delay until June 1st (jeditimeline.com)Basically our proof copies which should have arrived in a matter of a couple of days, didn’t arrive until too late. We didn’t want to put the book up for sale without having handled it ourselves to make sure everything is in order. Better to get this done properly than quickly. And in fact a couple of things have come to light since we decided to delay which are going to make this a better book anyway.

There will be three versions of the book. The contents are the same in each but we have three versions to suit all pockets. The first is the colour hardback. The second is the colour softcover and thirdly there's a version with a colour softcover with black and white pages. That’s the cheapest of the bunch. If you can afford it, why not buy yourself a hardback cover one to keep and treasure and a softcover one to flick through at your leisure?

So here’s our conversation with Jim Bloom. Justin’s internet died a couple of times so he doesn’t say a huge amount, but what he does say is great. Thanks to both of these gents for their time.

**Links

Return of the Jedi Timeline Book - Register your interest!

Filmumentaries Merch!

Support the Podcast on Patreon

The Man Who Shot Luke Skywalker**

View Details

This is a BONUS episode for May 2023.

This is my conversation with editor Michael Harte about his new film "Still: A Michael J Fox Movie", which is out today in cinemas and on Apple TV.

Listen out for some exclusive clips of the film during our conversation.

I hope you enjoy it.
https://twitter.com/AppleTV

AppleOriginals #STILL

View Details

For this episode, number 75, I spoke with filmmaker and optical VFX expert Peter Kuran. Peter was one of the few people employed by George Lucas on Star Wars and became a core crew member at Industrial Light and Magic.

He went on to have a long career in VFX and then became a director in his own right.

I should point out that we had internet problems so some of the recording is garbled or lost. I’ve edited around it in places and left it in in other places so you know that there was a piece missing. Apologies. We never found out if it was my connection or Peter’s.

I hope you enjoy the conversation.

Links

**Return of the Jedi Timeline Book - Register your interest!

Filmumentaries Merch!

Support the Podcast on Patreon**

The Man Who Shot Luke Skywalker

View Details

For this episode of the podcast, number 74, I spoke with VFX artist, expert, VFX twitter ambassador and all round good guy Todd Vaziri.

Todd began his career right out of college and worked on shows like Charmed and Xena Warrior Princess for Flat Earth productions before moving to among others, Banned from the Ranch before landing at ILM for Attack of the Clones.

Since then he’s worked on just about every ILM tentpole movie.

So here is my conversation with ILM VFX artist Todd Vaziri. I hope you enjoy it.

Links

**Return of the Jedi Timeline Book - Register your interest!

Filmumentaries Merch!

Support the Podcast on Patreon**

The Man Who Shot Luke Skywalker

View Details

Episode 73

If you remember, I interviewed House of the Dragon writer and showrunner, Ryan Condal back in September 2022, episode 59 I think. Well he and I have become friends and we chat quite a bit on Whatsapp. He suggested I speak to his Special Effects Supervisor on Dragon, Michael Dawson. “He’s been in the industry since Superman in the late 70’s. He’s a great guy and would be perfect for your podcast”.

So, a couple of weeks ago I did indeed have a great chat with Mike. He not only worked on Superman, but also on the three original Indiana Jones films, Return of the Jedi, Return to Oz, Alien 3, Patriot Games, Charlie and the Chocolate Factory and so many more! We didn’t get the chance to talk about all of them but we did have a great conversation about his job and his 45 plus years working in special effects.

So here’s my chat with Special Effect Supervisor Michael Dawson.

Links

**Return of the Jedi Timeline Book - Register your interest!

Filmumentaries Merch!

Support the Podcast on Patreon**

View Details

Welcome to this DVD extra type episode.

Here is my conversation with Van Ling, the guest on episode 71, talking about his time at the fabled Banned From The Ranch Entertainment.

I hope you enjoy this little extra bonus episode.

View Details

So for this episode I spoke with Van Ling. A name you may recognise. Perhaps for his work on laserdisc, DVD and blu ray, perhaps for his collaborations with James Cameron on The Abyss and Terminator 2 (you’ll love the story of how he got started with Cameron), or maybe for his time working on VFX at Banned From The Ranch Entertainment on films like Dante’s Peak or The Relic. Either way you’ll find his eclectic career fascinating.
I spoke with Van just before our trip to LA. We were hoping to meet up for lunch while we were out there but the schedule was too tight. Maybe next time Van.

So here is my interview with Van Ling, disc creator, VFX supervisor, director… LinksFilmumentaries Merch!

Support the Podcast on Patreon

View Details

For this episode, number 70, I finally spoke with director Patrick Read Johnson.

He recently released his many years in the making, labour of love 5-25-77.

A film that semi fictionalises and chronicles the early life of a character, named Patrick Read Johnson and his love of movies like 2001 A Space Oddysey, Star Wars and Close Encounters.

I saw an early cut of this about ten years ago with several scenes missing. Patrick and I connected over the release of my Star Wars Begins (still available to view for free on Vimeo by the way).

5-25-77 is currently available on blu ray and on several streaming platforms.

So here’s my chat with the director of 5-25-77, Patrick Reid Johnson and I’ll be back at the end for a bit more jabbering on.

Links
Filmumentaries Merch!

Support the Podcast on Patreon

View Details

For this episode, number 69 I spoke with ILM and Sony Image Pictureworks legend Ken Ralston.

Ken started on VFX in advertising, then in 1976 he was employed to work on a little film called Star Wars. He remained at ILM for 20 years having worked on Star Wars, Star Trek, Dragon Slayer, Back to the Future, I mean the list is huge. He then went on to work as Visual Effect Supervisor and Creative Head at Sony Pictures Imageworks. He’s won five academy awards during his career.

If you know who Ken is, you’ll love this conversation. If you don’t know who Ken is, firstly WHY? But secondly, you’ll definitely know his work.

He of course recently featured in the Disney+ Lawrence Kasdan documentary series Light and Magic. But as ever I am keen to dig a little deeper. I hope you enjoy our conversation.

Filmumentaries Merch!

Support the Podcast on Patreon

View Details

For this episode, number 68 I spoke with an animator at ILM, namely Hal Hickel. Now, if you’re on twitter you’ll know that Hal is a prolific tweeter. I’ve had a number of conversations with him online. Recently in one conversation it transpired that Hal had done some of the work on the 2004 version of Star Wars (A new hope), particularly on the redone Jabba scene. A redo of the 1997 special edition release. My friend Drew of Star Wars Visual Comparisons.

So I decided to approach Hal to come on the podcast and talk about that scene as well as many of the films he’s worked on over the years. Looking at my notes here for the keywords I’ll add to the podcast, we talk about Toy Story, Jurassic Park, Rogue One, The Life Aquatic and many more inbetween.

Filmumentaries Merch!

Support the Podcast on Patreon

View Details

For this episode I had the pleasure of speaking with the ultra talented and lovely human being… Jean Bolte, that’s BoltE, rhymes with Nick Nolte as she told me.

Jean has worked in the film industry for many years. She started in wigs and beard, then moved to ILM in time for Willow for which she was a model maker. The thumbnail for the episode shows Jean working on the ostrich for the famous morphing scene.

She then went to work on Hook, Jumanji, Men in Black, The Phantom Menace and so many more huge movies as a digital texture artist.

She’s recently handed in her notice to ILM but is going to be staying very much in the creative world.

Jean was just so great to talk to, we hit it off immediately. Chatting with her was surprisingly relaxing and also very inspiring.

So here’s my conversation with texture artist and supervisor Jean Bolte... Nick Notle and I’ll be back at the end for a bit more jabbering on.

My Filmumentary Videos on Vimeo

The Filmumentaries Podcast Merch

Podcast Patreon

View Details

For episode 66, I have an Oscar winning director. But I don’t talk to him about his films at all. Instead I talk to him about a book he’s written. Lee Unkrich is probably best known by film fans as the director of Toy Story 3 and Coco. He of course won an Oscar for both of those movies. What you might not know is that he is a lifelong fan of Stanley Kubrick’s The Shining. For many years he has run a website “the overlook hotel”, which he fills with everything and anything he can about his favourite film.

After ten years or so in the making, he is just about to release his book, published by Taschen and limited to 1000 copies (in the collector edition at least). It’s called Stanley Kubrick’s The Shining. I spoke to Lee just after Christmas 2022. So here’s our conversation. I hope you enjoy it.

Taschen's new "Stanley Kubrick's The Shining"

View Details

Just before Christmas I spoke with Rose Duignan. If you watched Light and Magic on Disney+ you’ll have seen Rose, a long time employee at ILM. She filled several roles during her years there including production assistant, production supervisor and a role in marketing too.
So here’s my chat with Rose Duignan, I hope you enjoy it.

Thanks for joining me in 2022 and I hope you can do so again for the next year of episodes of The Filmumentaries podcast in 2023! Happy New Year.

View Details

Now as any historian should, I like to hear differing points of view from people, in my case the memories of people who worked on the same movies.

I like to dig deeper than just the surface level or accepted version of events. Those things that have become mythologised in “making ofs” and articles for years. The more breadth I can find in the narratives I record, the more interesting it becomes.

Now you may recognise Steve Williams' story if you’ve seen… and I hate to say it because I dislike this show with strong feelings, The Movies That Made Us. Yes Steve, is the guy who made the T-rex skeleton against the wishes of his superiors and made sure it was seen by producer Kathleen Kennedy in the pre-production days on Jurassic Park.

This series of events changed the movie industry forever. You may say that this could have been to any number of VFX artists, and who knows how close other artists may have been to making a similar breakthrough, but this is firmly in the history of Steve Williams himself. He was that guy.

Scott Leberecht has directed Jurassic Punk, a feature-length documentary all about Steve. Warts and all.

Just a couple of weeks ago I emailed Steve after a kind friend sent his email address over. Almost immediately Steve called me on the phone. He’s great to talk with, very fun, very smart, we talked about UK sitcoms, Rugby and the fact that he’d travelled quite extensively, even to my home town… but he also carries this burden this story. The documentary is very open and honest about Steve’s issues with alcohol, his tempestuous career and seeks to shed more light on his impact on the VFX business.

There are a few swears in this conversation and I also wanted to point out that Steve misunderstood one of my questions to Scott about showing his early documentary cuts to friends… regardless of that I had a fun chat with both of these gents.

So here’s my conversation with Steve Williams (VFX artist) and Scott Leberecht (the director of the new documentary Jurassic Punk).

https://www.jurassicpunkmovie.com/

View Details

I managed to get in contact with ILM VFX legend Dennis Muren. All thanks to a friend who put in a good word for me. Thanks Mark.

Dennis and I chatted a couple of weeks ago for about an hour and forty minutes. Rather than ask him the same old tired questions, I really wanted to talk to him about his approach and about some of the VFX sequences I’ve enjoyed the most and how he went about producing them. But of course I had to begin with how it all started for him. I hope you enjoy it. Please share.

Here's the link to our "Not Your Average Joe" Kickstarter - https://www.kickstarter.com/projects/jamiebenning/not-your-average-joe-0

View Details

If you listened to episode 61 you’ll know it was part one of a two part conversation with Lucasfilm and ILM producer Jim Bloom. Jim is a great talker and worked on so many projects, most of them successful but he also talks openly and enthusiastically about some movies that didn’t make it into production and about some that did but didn’t do much at the box office.

In this conversation we talk about his cameos as Luke Skywalker in The Empire Strikes Back, about the challenges running an effects house and the ups and downs of life as a producer, his views on Return of the Jedi director, the late Richard Marquand and his time working alongside Richard in Yuma and in the Redwood forests of California. We also talk about a little known film that Jim produced called Warning Sign, released in 1983, which he says had some hints towards how a future pandemic may play out. I’m going to track down a DVD or blu ray of that.

I hope you enjoy it.

Check out the following link if you're interested in supporting the Joe Alves documentary project on Kickstarter - https://www.backerkit.com/call_to_action/1d3f98a4-6576-46f0-9585-6c9fc45ab7e5/landing

View Details

So for this episode, number 61 I have ex ILM and Lucasfilm producer Jim Bloom. Jim started his career proper on Lucas’s American Graffiti and then navigated a very interesting path through numerous titles with some amazing directors. Some of those titles... The Empire Strikes Back, Return of the Jedi, Close Encounters, Invasion of the Bodysnatchers...

I spoke with Jim just a couple of weeks ago over Zoom. We had a very long conversation so this will be a two parter. I warn you, we do go off on a few tangents, but I’m sure you’ll enjoy it. Jim speaks so enthusiastically about his time in the industry.

View Details

Back in December 2021 I spoke with author John Walsh about his book “Escape from New York - The Official Story of the Film”, that was episode 41. Well he’s been busily beavering away on a new book, “Dr Who and the Daleks - The Official Story of the films”. FilmS because there were of course who of them. Both starring Peter Cushing as The Doctor. I remember watching these on Channel 4 in the early 90’s and couldn’t quite believe they existed. They are odd, but also pretty great.

So I spoke to John earlier this month, October 2022. There will also be a free video version of this interview on my youtube and vimeo channels. This is usually given only to patreons (on patreon.com/jamiebenning) of £3+.

Links:

• vimeo.com/filmumentaries
• https://uk.bookshop.org/books/escape-from-new-york-the-official-story-of-the-film/9781789096217
• https://titanbooks.com/70944-dr-who-the-daleks-the-official-story-of-the-films/

View Details

Today’s guest is a writer, a showrunner, podcaster and original props collector by the name of Ryan Condal. I mean he’s the writer and showrunner on the world's biggest show right now., House of the Dragon, on HBO.

He's also co-host of "The Stuff Dreams Are Made Of" podcast with David Mandel.

Ryan and I chatted in late July. I hope you enjoy out conversation.

View Details

For this episode I have somewhat of a kindred spirit by the name of Alexandre Poncet.

Alexandre is, like me, a lover of behind the scenes stories. He and his friend and business partner, Gilles Penso have created a trilogy of documentaries about heros behind the scenes. One called Ray Harryhausen, Special Effects Titan, another called Creature Designers: The Frankenstein Complex, a third and most recent one called Phil Tippett: Mad Dreams and Monsters.

I recently became aware of their work and was very much inspired by it, because as you may know I am in production on my first proper documentary with my pal Paddy Tyndall.

What Alexandre and Gilles have achieved with such a small team is quite remarkable.

The Phil Tippett book - https://www.whsmith.co.uk/products/mad-dreams-and-monsters-the-art-of-phil-tippett/alexandre-poncet/gilles-penso/hardback/9781951836559.html

The documentaries - https://www.amazon.co.uk/Monster-Collection-Blu-ray-Doppelganger-Releasi/dp/B093RS7FW5/ref=pd_lpo_2?pd_rd_i=B093RS7FW5&psc=1

View Details

I don’t have much in the way of film artefacts these days. I have a couple of replica Star Wars helmets. Some Neca Alien and Jaws action figures and of course some reference books.
My guest this week however has not only a super impressive collection, he is also responsible for three of the best comedies ever written. Three of my all time favourites in fact.. Seinfeld, Curb your Enthusiasm and Veep. Yes, I have writer and executive producer David Mandel on the show! I mean it’s kind of bonkers really.

Also as a wonderful DVD special feature type bonus, I am joined by my friend, and former Filmumentaries Podcast guest, Emmy Award winning matte artist Jim Maxwell. You’ll have seen Jim’s work in Vikings, Vikings: Valhalla, maybe even in Curb Your Enthusiasm. Now you see the connection!! Jim has worked as a VFX matte painter for some 20 years. Had a short stint at ILM. Owner of items relevant to the conversation you’re about to hear.

Thanks to both David Mandel and Jim Maxwell for being great!

View Details

For this episode I spoke to Gino Acevedo, a make-up and special effects expert that’s worked on films such as Lord of the Rings, King Kong, Iron Man, The Jungle Book, Planet of the Apes and most recently with Jim Cameron on the new Avatar films. Gino was drawn away from a career in LA by Peter Jackson some 15 years ago and has remained in New Zealand ever since. I spoke to him in August 2022 from his home there and had a great chat about his entry into the business and some of the amazing films he’s worked on.

View Details

This time my guest is film composer Daniel Pemberton. Before I go any further I just want to take a moment to thank my friend and colleagues John Lyons for connecting me with Daniel. Initially we spoke several months ago, but as you might imagine, Daniel has been busy.

Some Daniel facts for you:

At the age of 16 he released his first album, which got quite a bit of attention.
He then worked for several years creating scores for television including the cherished Peep Show. Daniel has composed for directors Ridley Scott, Aaron Sorkin, Guy Richie, Danny Boyle, Edward Norton and many more. He’s in high demand and is always working! He’s regularly been cited as one of the most exciting and original new voices working in modern film scoring today.

We finally managed to arrange a day for me to join him at his home in London. In fact, because Daniel wanted to get out of the house/studio, we did the interview in a local park. But I did get to visit the genius's lair. Strewn with instruments, synths, LPs and CDs Daniel really does has a love for his craft. His enthusiasm as he played me part of one of his new scores is clearly evident.

You’ll hear the sounds of London as we chat, including some dogs fighting, a chinook helicopter going over and the general atmos of a London park at lunch time.

View Details

Ok so for this episode I was put in touch with Hannah Barbera, Bluth and Disney artist and animator T.Dan Hofstedt. T Dan worked for Disney on a number of their big projects including Aladdin, The Lion King and Mulan. I had the pleasure of speaking with him in June 2022.

Please note/ignore my husky Covid voice. I am three days in. Also my mic recording got somehow trashed so what you’ll hear is the recording of my mic through Zoom, rather than on my normally separate recording. But hopefully it won’t make a big difference.

I hope you enjoy it!

View Details

This episode I have a returning guest, Jon Spira who directed Elstree 1976 and Hollywood Bulldogs is back to talk about his new series streaming on Britbox, namely Reel Britannia.
Jon has written and directed this himself and it’s a blast. I’m fortunate enough to have watched the first three episodes before I spoke to Jon. The fourth episode is just being finished up as I speak.

I hope you enjoy our conversation.

Britbox.com
Elstree 1976 - https://www.imdb.com/title/tt4558042/
Hollywood Bulldogs - https://www.imdb.com/title/tt12142914/

View Details

So this is not a typical episode. While I do have a guest, he does not work in the film industry. He is however a big fan of Star Wars, who like me, enjoys channelling his love for these films into something creative.

Justin Berger is the author of The Empire Strikes Back Unauthorized Timeline 1975 - 2020. It’s a reference book that catalogues all the major and minor dates surrounding the inception, pre production, production and aftermath of The Empire Strikes Back.

During this episode Justin and I have an announcement, the title and thumbnail to this episode was a big hint…

https://jeditimeline.com

https://www.amazon.co.uk/Empire-Strikes-Back-Unauthorized-Timeline/dp/1095497197

View Details

Today I have an amazing guest, an exclusive of sorts, because he really hasn’t done many interviews over the years…. Namely ILM matte painter and Weta art director Michael Pangrazio. Now if you recognise that name you’ll know that Michael is responsible for some incredible works of art from Raiders of the Lost Ark, The Empire Strikes Back, Return of the Jedi, Dragon Slayer, Willow, it’s another long list. He also co-founded Matte World along with previous Filmumentaries Podcast guest Craig Barron, that’s episode 46 if you want to take a listen.

Michael is now based in Australia working with Peter Jackson’s Weta in New Zealand for some 15 years. We spoke over Zoom in April 2022.

Please support the podcast www.patreon.com/jamiebenning

View Details

Welcome to episode 50. Five zero of The Filmumentaries Podcast. Fifty… So after just over two years I’ve hit the podcast has hit middle age. And you know what, it’s feels pretty good. Thanks for all your support over the past 24 months. I really do appreciate it, especially those that have been able to support the podcast.

Ok, so if you heard episode 49, you’ll know that it was the first of a two parter with ILM’s chief model maker Lorne Peterson.

Today you’ll be hearing the second and final part of my conversation with him.

Please share.

View Details

For this episode, number 49 you’ll hear my conversation with a founding member of Industrial Light and Magic, who has brought an immeasurable amount of skill and artistry not only to the original Star Wars trilogy, but also to the prequels, Indiana Jones, Men in Black, Pirates of the Caribbean, Jurassic Park, E.T. The list is immense. The man I speak of is ILM former Chief Model Maker Lorne Peterson. Lorne was so taken with my interview with industrial designer Nilo Rodis Jamero (that’s episode 17 from January 2021 if you’d like to take a listen) that he felt compelled to talk to me. He said he found the Nilo episode quite emotional and I quote “I was nearly brought to tears. My voice broke up when I tried to ask my wife for something. It was an epic 33 years with many a milestone along the way and every week brought new adventures, each day actually. We essentially got to live and work in Florence during the Renaisance.”I’d contacted Lorne many months before and when I had no reply I assumed he wasn’t interested. I was so pleased to hear back from him, not only because he is someone whose work I admired immensely but also because an episode of my podcast was the catalyst for him to reply. Happy making.Lorne joined ILM just as Star Wars was being made. He stayed for 33 years. Just think of the titles he worked on and the changes he observed in the industry. Our conversation went on for over two hours, so it will be split up into two episodes for April 2022. The first one right here and the second part will be up by the end of the month.Please share.Support the show (https://www.patreon.com/jamiebenning)

View Details

In February 2020 I had the pleasure of speaking with fellow Brit, Senior Visual Effects Consultant Paul Franklin.Paul famously worked with director Chris Nolan on both Inception and Interstellar. He won a BAFTA for his work on Inception and an Academy award for both Inception and Interstellar.Early in his career he was a videotape editor, then he worked for Psygnosis, the video game developer and publisher. Finally arriving in film in the mid to late 1990's.LinksThe Escape - https://www.youtube.com/watch?v=Tg2NBn2x6w0TED Talk - https://www.ted.com/talks/paul_franklin_the_art_and_science_of_special_effectsCrystal Palace Film Festival - https://cpiff.co.uk/schedule2022/Support the show (https://www.patreon.com/jamiebenning)

View Details

This episode is my conversation with Sarah Virani, Partnerships and Marketing Manager at Regent Street Cinema. Sarah contacted me on social media with the intention of getting the message out about this lovely little cinema in London. Full disclosure, I was offered complimentary tickets for a screening, but I haven’t taken Sarah up on that offer. What really  interested me was the historical aspects of the theatre. As you’ll hear, it’s been there in some form since 1848! Being a cinema history buff, I couldn’t turn down the opportunity to visit and check out the birthplace of British Cinema. This is, I guess, my first location report type episode. It was good fun. It is shorter than a normal episode, but I hope you enjoy it.Normal proceedings will continue as from episode 48.  Next up is D-NEG's Paul Franklin.https://www.regentstreetcinema.com/our-story/Support the show (https://www.patreon.com/jamiebenning)

View Details

For this episode I have a conversation with VFX guru Craig Barron. Craig started his career in the effects industry as a young man at ILM. You’ll love his story about how he got there. Years later he went on to co-found Matte World and then became creative director at Magnopus.He began  at ILM in time to work on The Empire Strikes Back. Later he worked for Martin Scorcese on Casino and a million and one movies in between . Craig also  co-wrote a wonderful book about matte painting called The Invisible Art with Mark Cotta Vaz. It’s a huge, lavish history of that particular part of visual effects and has some of the best reproductions of matte paintings I’ve seen in print. Well worth picking up if you can find it at an affordable price. (It's currently out of print).If you enjoy this or any of the episodes, please share!Support the show (https://www.patreon.com/jamiebenning)

View Details

For this episode, number 45, February 2022, I have another film legend, Garrett Brown.If that’s not a name you recognise, you will know his work. Garrett invented the steadicam. He also operated it over 100 films, most notably for me, Rocky, The Shining, and Return of the Jedi. Three very different films and three completely difference applications of the steadicam.The steadicam of course is a camera stabilising system, with the stability of a conventional tripod mount but with the fluid motion of a dolly shot as well as the flexibility of hand-held camera work. Garrett’s incredible invention smoothly follows the operator's broad movements, while the the Steadicam's arm absorbs jerks, bumps, and shakes, while its almost frictionless gimbal gives precise control of the camera and framing. It’s used on everything from film, light entertainment TV shows and just about every sport you can think of.Garrett won a special Academy Award for Science and Technology for his invention. Just to put this into perspective, winners include those responsible for colour film, Cinescope, IMAX, Avid. All seismic innovations in the industry.Huge thanks to my friend and old colleague Patrick Van Weeran for putting me in touch with Garrett back in 2017 and providing me with some research literature that I wouldn’t have otherwise found. If you’re a patron of $3+ then there is a video version coming soon for you over on patreon.com.Steadicam Demo Reel - https://www.youtube.com/watch?v=CtmeGPWLAowSupport the show (https://www.patreon.com/jamiebenning)

View Details

For this episode number 44, I have documentary director Frank Pavich. Frank appeared along with Dan Lanigan and Soby on episode 39 in November 2021, in which we discussed the purchase of the Jodorowsky’s Dune book. A story which has been picked up again by the press just in the past week or so.  I may not have got the hits, but I got the scoop!The documentary Jodorowsky’s Dune, which Frank Pavich directed has been favourite of mine since I was introduced to it by my friend  2015. I've watched in many times since, trying to find our everything I can on the subject.That quest still continues to this day. I love reading every tidbit about Jodorowsky’s Dune. So as soon as episode 39 of the podcast was over, I knew I had to get Frank back on.. Over the past couple of months we’ve become friendly acquaintances.  We chat quite a bit on whatsapp and share a similar enthusiasm for stories. So you’re in for a fun episode here.You can buy Frank's doco here ...and the fantastic soundtrack here Support the show (https://www.patreon.com/jamiebenning)

View Details

For this episode, number 43 I spoke with documentary director Jon Spira.I became aware of Jon’s work in 2015 with the release of Elstree 1976. A broad look at the men and women who were tucked away, far far away, in the back ground of some of the shots in Star Wars. They were often extras and masked characters that we didn't even know were there. His film is a kind of microcosm of celebrity culture and how being on the periphery of a huge cultural event like Star Wars can impact on ones life.I spoke to Jon in November 2021 for a couple of hours. We had briefly met once before at a BFI screening and we’d been intending to have a chat ever since.Since making Elstree 1976, Jon has most recently made Hollywood Bulldogs Hollywood Bulldogs: The Rise and Falls of the Great British Stuntman which is currently on Britbox here in the UK. I really enjoyed listening to the stories of this unconventional group of men who worked on some of the biggest films in movie history.Hollywood Bulldogs Trailer - https://www.youtube.com/watch?v=7COvrZs4JnsElstree 1976 Trailer - https://www.youtube.com/watch?v=6IhEuYdArz4Support the show (https://www.patreon.com/jamiebenning)

View Details

My friend and colleague Jason Henry, director of Disney+'s Prop Culture, suggested that he should interview me for my own podcast. A "getting to know Jamie Benning episode" he said.  I was reluctant at first, but Jason assured me that my listeners would be interested in hearing my story.  The day before we were due to record, Jason suggested our mutual friend and presenter of Prop Culture, Dan Lanigan should host the interview.So here is Dan Lanigan, presenter, producer, prop collector turning the tables by interviewing ME, Jamie Benning.I hope you enjoy it. 😬Merry Christmas / Happy Holidays to you all. And thanks for the continued support.Support the show (https://www.patreon.com/jamiebenning)

View Details

Bonus episode.I released episode 40 today. My conversation with author John Glennie. But as it's close to Christmas, I thought "what the heck"... lets put out episode 41 too.Both are with authors of great movie books that you should be adding to your Christmas list.So, here's my chat with author John Walsh about his new book Escape from New York The Official Story of the Film, available now!Twitter - @walshbrosBook at Amazon - https://amzn.to/3qgWNzEBook at Waterstones - https://www.waterstones.com/book/escape-from-new-york-the-official-story-of-the-film/john-walsh/9781789096217Support the show (https://www.patreon.com/jamiebenning)

View Details

Welcome to episode 40 of The Filmumentaries Podcast.Now I am a lover of movie books. I own a lot of them. I have owned more than I now have. Some favourites include Alan Arnold’s Once Upon a Galaxy - The Making of The Empire Strikes Back, Paul Sammon’s Future Noir - The making of Blade Runner, Steven Bach’s – Final Cut. So many to name. But what I didn’t know, I am embarrassed to say, that I had no idea about fellow Brit author Jay Glennie’s books on The Deer Hunter, Raging Bull and Trainspotting until pretty recently. A kind twitter follower mentioned Jay and his books. Immediately I could see that Jay had a great eye for the huge stills that are included within his books, but also that there was a clear and engaging narrative throughout.In late November 2021 Jay and I spoke over Zoom.https://www.coattail-publications.com/Support the show (https://www.patreon.com/jamiebenning)

View Details

This is the second episode in a matter of two days. I only just released episode 38 with Howard Kazanjian yesterday. BUT I felt the need to get this episode and it’s story out there because it’s one that I’ve been chasing since 22nd Nov 2021.It started while I was at work at F1 talking with my friend Will Buxton. Will is a presenter and a big movie fan and we got talking about the imminent auction for the Jodorowsky’s Dune pitch book. So if you don’t know this story, I implore you to seek out the 2013 documentary “Jodorowsky’s Dune” and watch it before you listen to this podcast.But if you want to go ahead now and listen I’ll give you a quick summary. So back in the mid 1970’s the Chilean-French director and performer Alejandro Jodorowsky became consumed with producing a film version of Frank Herbert’s Dune. He managed to pool the resources of people like Dan O’Bannon, Moebius, Giger and Chris Foss. Much of the talent that went on to work on seminal sci-fi films and indeed inspire a whole generation of filmmakers. So Jodorowsky put together a pitch book. This thing is huge with thousands of illustrations, storyboards, costume designs, architectural designs by these artists with the intention of sending it around all the Hollywood studios to convince them to buy his idea for the movie and let him direct it. Ultimately this endevour failed but its influence still resonates strongly today.One of these hallowed Dune books sold for $42500 in 2019. And on the 22nd November this year another sold but this time it went for $3 Million dollars. All thanks to one man stepping in and buying it on behalf of a collective who at that point had managed to raise $750,000 dollars. (As of today that amount has topped $11M).That man’s name is Soby. He was some what of a mystery to me for several days but I managed to connect with him over twitter (thanks to Will Buxton for the heads up) and we got chatting. He agreed to come on the podcast to talk through just what went down, and WHY!It then occurred to me that I should contact the director of the documentary Jodorwosky’s Dune, a guy called Frank Pavich. Again after a quick search I made contact with Frank and he was also keen to join having seen the story in the press himself. I then wondered if I could get my friend Dan Lanigan, prop collector and co-creator of Disney+’s Prop Culture. Dan was also very keen and I knew he’d bring his unique perspective to the conversation.To my knowledge somewhat of an exclusive - this is the first podcast interview with Soby regarding the Dune book sale. And to have both Frank and Dan involved is such a treat.LinksWhat is a DAO - https://www.forbes.com/sites/cathyhackl/2021/06/01/what-are-daos-and-why-you-should-pay-attention/What is crypto currency - https://www.youtube.com/watch?v=6Gu2QMTAkEUWhat is blockchain - https://www.youtube.com/watch?v=SSo_EIwHSd4What is the Dunning Kruger effect - https://www.britannica.com/science/Dunning-Kruger-effectSupport the show (https://www.patreon.com/jamiebenning)

View Details

For this episode I’ve got well known producer Howard Kazanjian. Its name I’ve been familiar with for many decades now having seen it on the credits of Raiders of the Lost Ark and Return of the Jedi. I’d heard sometime last year that Howard was releasing a book about his career, to be penned by the then very ill J W Rinzler. Jonathan of course appeared on this podcast back on episode 11 while he was being treated for cancer. Then Jonathan sadly passed away in July 2021 but did manage to complete the book and as Howard told me at the end of this interview you’re about to hear, Jonathan did get to see a published version of the book.I’d been in touch with Howard since last year and he was reluctant to talk until the book was released. This was further complicated by the fact that the book was released in the UK later than in the U.S. But he was a man of his word and when I told him I’d read the book he was willing to come on the podcast.So just last week we spoke over zoom. Thanks to Howard for his time.Howard Kazanjian - A Producer's Life is now available in bookstores.https://amzn.to/3GlLtrpSupport the show (https://www.patreon.com/jamiebenning)

View Details

For this episode, number 37, November 2021, I have a real treat. You will not have failed to notice that Denis Villeneuve's Dune has finally arrived. Back on episode 16, I interviewed sound designer Mark Mangini about his career and his work on Blade Runner 2049. We stayed in touch and I asked if he’d be willing to come back to talk about his new work on Dune. He then introduced me to his colleague Theo Green, also a sound designer and we set a date to talk all this Dune. So this is the first time I’ve done a podcast about a new movie and I got quite a buzz. So i’ll be doing this from time to time.Just so you know, Mark is the American voice, Theo is the British voice. We did have some technical difficulties at the beginning, which I’ve left in, because if I cut it out it wouldn’t make much sense as we refer back to it a couple of times later on in the conversation. And you know, this is a warts and all kind of podcast. So you’ll hear Theo’s young family in the background at times, but that’s all part of the rich aural tapestry of this sound design episode.Huge thanks to Mark and Theo as well as Emilie Erskine of Erskine PR who organised the interview and was able to provide me with those wonderful sound clips from Dune (2021).Support the show (https://www.patreon.com/jamiebenning)

View Details

So for this episode, I went out into the wide world and actually did an in-person interview. I reached out to editor Sean Barton via IMDB Pro. Actually my first time using the site. So that’s a 1 for 1 hit rate so far. As a hater of Zoom, Sean was very gracious in inviting me to his house on the other side of London. Both of us are double vaccinated and LFT’s were done beforehand just to be sure. So I rocked up with two Zoom H2 mics (one purchased the day before because my spare was failing to work) a mic-stand and a list of general topics that I wanted to talk about. Actually I only looked at the list for the first question and the rest of the conversation flowed rather nicely. He really is such a nice man and so easy to talk with.If you don’t know him by name, you’ll certainly know him by his work. Sean edited the seminal cult film Quadraphina for Frank Roddam, he then teamed up with Richard Marquand for Birth of the Beatles, Eye of the Needle and in 1981 they both began work on the last film in the Star Wars trilogy. A little independent film called Return of the Jedi. You may have heard of it.Both Richard and Sean worked together again on the psychological thriller Jagged Edge, starring Glenn Close and Jeff Bridges. I re-watched all of the above in preparation for the chat and I was surprised to find how fresh Jagged Edge felt. Of it’s time for sure, but it still works. It was clearly the proto erotic-psycological thriller that lead to a slew of them in the 90s. Despite the fact there isn’t much eroticism in Jagged edge. Enjoy. And please do SHARE!https://www.buzzsprout.com/?referrer_id=1672915Support the show (https://www.patreon.com/jamiebenning)

View Details

So… for this episode I have the pleasure of talking to the editor of Monsters and Rogue One, the always great Colin Goudie. We speak at some length (I think it was 2.5 hours) which I’ve edited down to about 2 hours. It’s still long, but well worth your time. Colin is a veteran of BBC dramas and documentaries and is very well regarded in the industry. You’ll hear as we chat that Colin brings his intelligence and humour to everything he does.As well as Monsters and Rogue One, Colin has more recently edited 'To Olivia' and 'The Show'. Both worth checking out.To Olivia, a Sky Original film, available on Sky Cinema and Now TV from 19th February 2021Support the show (https://www.patreon.com/jamiebenning)

View Details

For this episode I have Gabriel Hardman.  Now Gabriel and I got in touch over Twitter, thanks to good guy Duncan Fegredo. I didn't actually know much about Gabriel, but after some  searching online I found that I was in fact aware of some of his work. He's a comic book artist and writer. And he’s also a very sought after storyboard artist. So I got in touch with Gabriel and immediately it was obvious that he was a good guy and he said he was willing to come on the podcast to talk about his work.So we spoke a few weeks ago now, again over zoom. Having seen some of his storyboards I was keen to ask him about the process that he goes through to create them. When he's brought on board, when he finishes his job on a film and I was quite surprised with some of the answers actually. I also wanted to talk to him about his comic books, and as part of my research, I read one of his Aliens books, which was great. I thought he really had a good grasp of medium and was able to create a tense atmosphere for the reader. There's a great opening scene Aliens Dust to Dust which shows he’s clearly adept at using the elements of cinema and comic book artistry hand in hand.It really had me on  the edge of the seat.I hope you enjoy our conversation.Please share!Support the show (https://www.patreon.com/jamiebenning)

View Details

For this episode I was fortunate enought to  have a  conversation with Oscar winning sound designer Gary Ridstrom, he of Terminator 2 and Jurassic Park fame.I hope you enjoy the podcast. Please share to your friends!Support the show (https://www.patreon.com/jamiebenning)

View Details

Back in June 2021 I had the pleasure of speaking to prolific playwright, film writer and director John Patrick Shanley. Thanks to former guest Jim Maxwell (digital matte artist) for putting me in touch with John.A slight diversion from my usual sci-fi connected guests but a conversation that I very much enjoyed. John is a very talented man and gave some wonderful answers. It's well worth checking out this episode.John's Moonstruck Oscar speech - https://www.youtube.com/watch?v=ztY1AxNz0F8Support the show (https://www.patreon.com/jamiebenning)

View Details

After chatting with Walter for Episode 30 he asked me if I was happy with what I'd got. I replied saying I wish I had asked him about Return to Oz. He kindly offered another 45 mins on the subject, so we went ahead the following Monday and chatted for almost an hour about his directorial debut.Don't be scared. It's just a kid's movie.Support the show (https://www.patreon.com/jamiebenning)

View Details

I feel super lucky to have had the opportunity to speak with Walter Murch. One of my movie heroes. Sound editor and editor of some of the most well regarded films of the past 50 years.From THX 1138, American Grafitti and Apocalypse now, Walter's work and legacy is incredible.Please share the podcast. Leave a comment/review on Apple Podcasts and if you can, please support me at patreon.com/jamiebenningIn the Blink of an Eye - By Walter Murch - https://amzn.to/33q5JcZThe Conversations: Walter Murch and the Art of Editing Film - https://amzn.to/3GguNS1Support the show (https://www.patreon.com/jamiebenning)

View Details

For this episode I spoke to another legend in in the industry. Dan Perri is a titles designer and has been in the game for decades. You would have seen his work on films as varied as The Warriors, Star Wars, King of Comedy, New York New York, Nashville and The Excorcist.Dan  is engaged by filmmakers to bring his inimitable style (which is so varied) to their productions.  Dan's Site - https://www.danperri.com/Dan's Book - https://www.danperri.com/bookHere's my favourite example of Dan's work - Taxi Driver - https://www.youtube.com/watch?v=rmjjk4_kl3cSupport the show (https://www.patreon.com/jamiebenning)

View Details

Black Angel (1980) - https://www.youtube.com/watch?v=5L8pHKP-vv4Cinema Alchemist Book - https://amzn.to/3K0mhJdFor this episode, number 28 I spoke with Star Wars set decorator and Alien Art Director Roger Christian about his beginnings in the industry as well as the fortuitous moments in his life when he was given the opportunity to work with some of the worlds biggest film makers at the start of  their careers. Support the show (https://www.patreon.com/jamiebenning)

View Details

AS A THANK YOU THIS IS A BONUS EPISODE AND NOT CHARGED TO PATRONS ON PATREON. Back in April 2021, the same weekend that I spoke to my previous guest, matte artist Jim Maxwell, I also spoke with documentarian Jon Lefkovitz.I'd found Jon's vimeo account while browsing for videos about Walter Murch, the philosopher, editor, director and sound designer. Jon had made a compelling feature length  documentary about Murch which I watched through right there an then.Sight & Sound: The Cinema of Walter Murch can be watched for FREE here - https://vimeo.com/401292817Support the show (https://www.patreon.com/jamiebenning)

View Details

In  late April 2021 I was fortunate enough to be able to talk to digital matte artist Jim Maxwell about his craft and our shared interest in all things film geekery.Jim is a great, positive influence in my twitter circles, you can follow him @1jcmaxwell.Here's Jim's IMDB page - https://www.imdb.com/name/nm1339484/And details of his Emmy Award and nominations - https://www.emmys.com/bios/jim-maxwellSupport the show (https://www.patreon.com/jamiebenning)

View Details

For episode 25 I had the distinct pleasure of talking to film journlist (for Empire Magazine among others) and author of the new book "Women Vs Hollywood - The Fall and Rise of Women in Film."I spoke to Helen the morning after the Oscars, in which of course Chinese filmmaker Chloe Zhao won the best picture award for Nomadland. Lets hope we are at the beginning of something great for female filmmakers.Helen's book can be purchased here - https://uk.bookshop.org/books/women-vs-hollywood-the-fall-and-rise-of-women-in-film/9781472144430Support the show (https://www.patreon.com/jamiebenning)

View Details

For this episode, number 24 (April 2021), I have a conversation with director Peter Macdonald. Peter was in fine fettle and was happy to answer all and any questions I had about his career as a cameraman, a cinematographer, a second unit director and a director. I would love to talk with Peter some more as it’s clear he has so many more stories about working with some of the great actors and directors of cinema. Including Attenborough, Guinness, Harris, Forman, Borman, Henson, Donner, Lucas, Kershner, Fossie, Bowie, Hackman, Minnelli, Striesand, Burton. Just incredible really.Check out Peter's extensive list of work on IMDB - https://www.imdb.com/name/nm0003423/Also a nice article about Peter here on the British Cinematrorapher site -  https://britishcinematographer.co.uk/clapperboard-peter-macdonald-bsc-dga/Support the show (https://www.patreon.com/jamiebenning)

View Details

For Episode 23 I spoke with camera assistant Madelyn Most. Listed as “second assistant camera” on both Star Wars and The Empire Strikes Back, Madelyn offers another unique perspective from within the 70’s and 80’s film industry. Despite that period of  the industry being dominated by men, I didn’t want my podcast to be. So I was glad to be able to reach Madelyn.  Hearing the point of view of a woman who worked in a sexist industry at a time when representations of women were typically what we might now call problematic is part of the education I wanted for myself in doing this podcast. These aren’t the stories that are widely told and they are important. Madelyn's partner director Peter Macdonald is my guest on episode 24 coming later this month (April 202....1)Robert Watts - A Life in Film - https://www.youtube.com/watch?v=9uRTQjUdEygWomen Behind the Camera - https://womenbehindthecamera.co.uk/Director Peter Macdonald - https://www.imdb.com/name/nm0003423/Support the show (https://www.patreon.com/jamiebenning)

View Details

Episode 22 is my conversation with associate producer and writer Ivor Powell. Ivor worked for many years with RSA, though his career started working in the press department on 2001: A Space Odyssey for Stanley Kubrick. Ivor more recently co-wrote a script for a forthcoming film, BIOS, which will be the subject of both a forthcoming video and podcast episode.The video version of part 1 of my chat with Ivor can be found here - https://vimeo.com/410802693Support the show (https://www.patreon.com/jamiebenning)

View Details

For episode 21 of The Filmumentaries Podcast I spoke with model maker and visual effects supervisor Patrick McClung.Pat has worked in the industry since 1979 on some of the biggest films of the last 40 years. Including The Empire Strikes Back, Star Trek The Motion Picture, Blade Runner, Aliens, Ghostbusters, Die Hard, The Abyss... the list just goes on and on.I hope you enjoy it.Support the show (https://www.patreon.com/jamiebenning)

View Details

In February 2021 I spoke with Gavin Rothery, Director of "Archive" (2020). He was also the production designer and VFX supervisor on Duncan Jones's "Moon" (2009). Gav is a real creative force of nature and I'm sure we'll be seeing his name connected to some big projects in the not to distant future.Check out Archive on your favourite streaming service.Here's the trailer - https://www.youtube.com/watch?v=m0J0BwIzURIArchive on Blu Ray - https://amzn.to/3K3ES7sAnd the Ivor Powell documentary I mentioned in the outro is available here - https://vimeo.com/410802693Support the show (https://www.patreon.com/jamiebenning)

View Details

For this episode, episode 19, I’ve returned to Jaws. If you don’t already know my work… from 2006 to 2014 I created some feature length documentaries, or filmumentaries as I called them on some of my favourite films. Inside Jaws is still available for FREE on vimeo.So, last weekend here in February 2021, I spoke to legendary production designer Joe Alves. He collaborated with Steven Spielberg on a number of projects going back to Steven’s years in television. I spoke to him about his origins in the industry as well as his time on Jaws and Close Encounters of the Third Kind.  Joe has a book called “Joe Alves, Production Designer” it’s written by Dennis L Prince with a foreword by effects artist Greg Nicotero.You can buy it here at Joe's site - https://joealvesmovieart.com/Inside Jaws - A Filmumentary - https://vimeo.com/68400837Support the show (https://www.patreon.com/jamiebenning)

View Details

For Episode 18 I spoke again to the director of Dangerous Days (the amazing Blade Runner documentary), Charles de Lauzirika and also Bruce Wright who works for Disney Animation. But more importantly for this episode, Bruce was at the legendary Workprint screening of Blade Runner at the Fairfax Theatre in May 1990.The Workprint is important in Blade Runner Lore because it was that very screening that snowballed to the extent that the true Directors' Cut got released, ultimately culminating in the release of the The Final Cut in 2007. Which is considered the definitive cut of the movie.Really this is a conversation about how releasing the multiple versions of a movie really gives us a wonderful, iterative history of filmmaking, through the films we love.As mentioned in my intro - The Ivor Powell documentary can be found here - https://vimeo.com/410802693Support the show (https://www.patreon.com/jamiebenning)

View Details

For episode 17 I spoke to the wonderfully talented industrial designer, illustrator, concept artist and producer Nilo Rodis-Jamero. I’ve been pretty much obsessed with Nilo’s work since I was four or five years old, after looking at The Empire Strikes Back Sketchbook and later, The Art of Return of the Jedi. Two books that I still own to this day.Nilo worked on The Empire Strikes Back, Poltergeist, Return of the Jedi and several Star Trek films coming up with amazing concepts thanks to his talent and skill in industrial design. He also worked on costumer design for RoTJ. This impact of which still resonates today in the Disney+ series, The Mandalorian. I enjoyed talking to Nilo immensely. He was intelligent, warm, kind, funny and wise. Just as you'd want him to be! Better in fact.Take a listen. Trust me. You're in for a real treat.Do check out the following books: - The Empire Strikes Back Sketchbook Return of the Jedi SketchbookThe Art of The Empire Strikes Back-The Art of Return of the JediAlso check out Mark Burman's wonderful Empire 40th radio doco https://www.bbc.co.uk/programmes/m000j7h8Support the show (https://www.patreon.com/jamiebenning)

View Details

For episode 16 I spoke to the wonderful, talented Mark Mangini. Academy Award winning Supervising Sound Editor for Mad Max: Fury Road and the talent behind the sounds of so many of our favourite films including Gremlins, Innerspace, Blade Runner 2049, Poltergeist, Star Trek The Motion Picture... The list goes on! Check IMDB and you'll see what I mean.The Kuleshov Experiment - http://filmmakersfans.com/the-kuleshov-filmmaking-experiment-in-editing/ Mark's blog and site can be found here. Be sure to check out the blog and the amazing behind the scenes photos - https://markmangini.com/Mark_Mangini/Home.html He's also on Twitter @mark_mangini and on facebook at https://www.facebook.com/markmanginiofficial Also do check out this great in-depth video about the sound department's work on BR 2049 - https://vimeo.com/237369956Support the show (https://www.patreon.com/jamiebenning)

View Details

For episode 15 of The Filmumentaries Podcast I spoke with animaiton and visual effects expert Martin Meunier. Martin has worked on some great movies including James and the Giant Peach, Starship Trooper and Coraline. He also has some great stories to tell! He even won an Oscar for his innovative work on Coraline.Support the show (https://www.patreon.com/jamiebenning)

View Details

For episode 14 of The Filmumentaries Podcast, I spoke with Ben Dimmock, stunt performer and stunt coordinator on movies and television. Ben's had a pretty cool career in many big film franchises. Including Marvel, Star Wars and Jason Bourne in which he doubled for Matt Damon!His website is - https://www.ragestunts.com/On instagram he is - https://www.instagram.com/ragestunts/?hl=enTwitter - @ragestuntsAlso on Youtube at -https://youtu.be/CoRcx9jX0kgThanks to Ollie Green for setting this one up.Support the show (https://www.patreon.com/jamiebenning)

View Details

Back in March 2018 I spoke to actor Paul Blake about his role as Greedo in Star Wars (1977). This is a bonus episode, not charged to my patrons on Patreon.Be warned, there is some strong sweary language in this episode.Support the show (https://www.patreon.com/jamiebenning)

View Details

In this episode I speak to Industrial Light and Magic veteran Marty Brenneis. Also known as Droid! He was there for all the big movies, building camera systems and doing his thing! If you were at ILM, you knew who Marty was and what he could do. A big thanks to Johnnyb aka @agraphafx on twitter for linking me up with Marty!Support the show (https://www.patreon.com/jamiebenning)

View Details

For Episode 11 of The Filmumentaries Podcast I was very fortunate to be able to speak to Jonathan Rinzler. Author of THE best behind the scenes movie books ever made. Please do check out his work and his most recent book, his first novel "All Up". He's going through a difficult time at the moment so you have even more reason to support him and his amazing work.https://www.amazon.com/All-Up-J-W-Rinzler/dp/168261901X/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=1605197907&sr=8-1Support the show (https://www.patreon.com/jamiebenning)

View Details

Sylvain, an intelligent, talented storyboard artist and I spoke just last week (9th October 2020)about his career working with Ridley Scott, David Fincher and Stanley Kubrick. I really enjoyed this conversation and felt like I'd been educated by the end of it. I hope you enjoy it too!Regarding Sylvain's new book:Publisher's website: https://caurette.com/en/artbooks/los-angeles-sylvain-despretz/https://stuartngbooks.com/los-angeles-english-version.htmlSupport the show (https://www.patreon.com/jamiebenning)

View Details

In September 2020 I spoke to journalist and editor Kenneth George Godwin about his book "Dune - The David Lynch Files: Volume 2. Six months behind the scenes on one of the biggest science fiction movies ever made". It really is a unique perspective. I suggest you buy the book at cageyfilms.com and dive right in!Support the show (https://www.patreon.com/jamiebenning)

View Details

In early September 2020 I had the fortune of being able to chat with behind the scenes expert Charles de Lauzirika about his documentary work. Charles and I discuss what it takes to make a good content and also some of the elements involved in being not only an observer and documenter but also someone who is serving the film itself.Support the show (https://www.patreon.com/jamiebenning)

View Details

Episode 7 of The Filmumentaries Podcast is up. This time I spoke with Jabba the Hutt puppeteers Tony Philpott and Dave Barclay as well as sculptor and builder John Coppinger. Support the show (https://www.patreon.com/jamiebenning)

View Details

For Episode 6 I spoke to my friend Dan Lanigan, movie props collector extraordinaire. We chat about the origins of his interest in movie props as well as some of the key items in his collection. Dan is the presenter and producer of the Disney+ show "Prop Culture". Make sure you check it out after you've taken a listen to this.Support the show (https://www.patreon.com/jamiebenning)

View Details

For this episode, number 5, I spoke to Kevin Pike, former special effects supervisor who worked on Jaws, CE3K, ROTJ, BTTF...He's full of experience and stories. So much so that he is now a Hollywood script consultant. I hope you enjoy listening.Kevin's site can be found at www.Filmtrix.netSupport the show (https://www.patreon.com/jamiebenning)

View Details

For the fourth episode of the filmumentaries podcast, I spoke to supremo editor Paul Hirsch about his book "A Long Time Ago in a Cutting Room Far, Far Away: My Fifty Years Editing Hollywood Hits—Star Wars, Carrie, Ferris Bueller's Day Off, Mission: Impossible, and More" and his career in film. I hope you enjoy it!Support the show (https://www.patreon.com/jamiebenning)

View Details

For the 3rd Episode of the Filmumentaries podcast I spoke to puppeteer and animatronic engineer Tim Rose. As many of you will know, he played Admiral Ackbar in Return of the Jedi and in the more recent sequel trilogy. What you might not know is that he also played Salacious Crumb, Sy Snootles and also worked for Jim Henson on the Muppets and The Dark Crystal. Enjoy!Support the show (https://www.patreon.com/jamiebenning)

View Details

For my second podcast I interviewed star of Hamilton and good friend of mine, Giles Terera. He's an actor, singer, writer and fellow Star Wars obsessive. We talk about Star Wars being the start of our friendship as well as the his love for stories, his career in the West End and his involvement with the Hamilton phenomenon.Podcast No.3 will be with puppeteer Tim Rose. It's already recorded. I just need to get it edited and out to you lovely people.Support the show (https://www.patreon.com/jamiebenning)