Brendan Fraser on Eisenhower, The Mummy 4, and Chris Farley

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1:53Dana Carvey:Now that's a benefit that's just too good to pass up. You could be earning 2 % daily cash back when you use your Apple Card with Apple Pay to buy turmeric for your signature curry, 2 % back on flights to visit the family in Tucson, and even 2 % back on your kids new tuba you might even be able to get two percent back on a tuba tutor not an apple card customer you can apply in the wallet app on iphone subject to credit approval apple card is issued by goldman sachs bank usa salt lake city branch terms and more at apple.co slash benefits i always feel like someone's gonna walk in the door and hand me a dish towel and say Fraser get back to the...

2:43Get out of here. It's in me. The third one it's kind of it's sort of the problem child which had the strange elements that the audience were like you're giving me something that I don't you're telling me it's one thing and it's kind of not. You got away from what people like. I hate that.

3:05Dana Carvey:We can't do that. We did it in the other movie. They want to see something new, and then it's like... You can't reinvent the wheel. No, you want... If you want to eat an Oreo, you want that cookie. Yeah. It tastes like George. You want the band to get back together, which is what we are going to do. And the band is back together. Yes, we're getting the band back together. The fly-on-the-wall aspect of being in the room to see what... Thanks for the plug. That's the name of the podcast. Oh, excellent. That's right. So Brendan Fraser, you say it wrong. I say it right. Brendan Fraser. I say it funny because he did a cameo in Dickie Roberts.

3:47And he knew the director because the director did George of the Jungle, was it? Not Tarzan. George of the Jungle.

3:54Dana Carvey:George of the Jungle, which was a parody of Tarzan. Yeah, and he was funny in it. And it was a big movie. A hundred million dollar movie. and he had done this show before and he was nice enough to say, I have a movie coming out. Can I come on again? We had a good time. Movie is called Pressure. It's about D-Day. He plays Dwight D. Eisenhower. Yeah, heavy movie. Who has to make a decision about the weather. I'm definitely seeing it because you know more about history than me, Dana, but hearing about it made me want to see it. I like those kind of movies. Yeah, tense. A lot of tension. It's in the theater.

4:29And then last night, coincidentally, I ran into Pauly Shore at the comedy store and he said, uh, Oh, I said, we had Brendan on. I go, Brendan's very soft spoken and very, has a very sweet vibe to him. And I said, was he always like that on Encino man where he played like good question. And he said, uh, he said he was he, even back then he's very careful how he talks to you. And he's even on the podcast, very quiet. And he's very, uh, we talked after, so did you very nice to me. very nice to you after so couldn't be a cooler dude a lot of talent packed in there oh he tried on farley's coat by the way yeah oh yeah i'm gonna put a little dance in it because he saw

5:12Dana Carvey:chris's coat up from and he started doing some chris farley yeah yeah very sweet um yeah so this this one's interesting we had him a couple years ago and it was really about just uh his travails and show business he had injuries and his wilderness years and how he came back and he did the whale and then we talk about what's going on now and that and this new movie and another surprise if you listen to the end a surprise to me anyway happy surprise and his post-oscar life because before he hadn't won it i think he was just up for the whale yeah okay here he is brendan fraser you got in there's a rumor you got in yesterday yeah and dana got in yesterday from new york i did a one-nighter in new york did you come in i came in i left at 3 30 at kennedy heavy on american airlines and so we climbed south for a bit and then well you don't need the details but anyway uh the guy came on and said we just got our weather report we're gonna have two hours and it uh it could get it could get pretty rough yeah you got it too choppy yeah yeah i would rather get a little choppy than rough i didn't think it was bad because i was ready for rock and roll i was ready for barrel rolls world war ii kind of yeah we won't go in the counter free full circle there's a guy playing a harmonica or a violin and he dropped it dennis used to say we got a little light chop or dirty air those are ways of saying it's going to get bad but i'd rather hear tamp down like that a little bit of dirty air coming up dirty air peter zinklage told me that um he said that he is a a pilot in his family and he said that just to put your mind at ease if something bad's gonna happen it's after takeoff like you know once you're in the air you're good landing it is a lot of you know comparing the risk and if you think of you know air chop is like skipping a stone on water like you know it's not that's not as bad so you give yourself a mental image well i heard two minutes like it's probably a million to one when you take off it's 10 million to one after two minutes so i just count okay backwards and take deep breaths.

7:23Dana Carvey:And then it would get to 120 seconds, which would be two minutes, right? Yeah. What about the landing? Metric minutes? Is the landing more dangerous than the takeoff? Depends on the weather. I don't know. Well, the takeoff proves the thesis that the thing's going to fly again. Okay. Yeah. Because, you know. They do stuff like, we've only got one engine. You're like, yeah. Yeah. I don't like that. I don't know. I flew on an A380 once out of Paris. A380. A380. It's a shopping center with an engine. It's just so fucking big. The bowling alley. So we go on up in the, my wife and I go out in our first class.

8:01Dana Carvey:Whoops. And we meet Maurice Chevalier, if you know the reference. What? The pilot. We may not be taking off today. We have a little engine for a ROM. So anyway, so we did go. I was kind of nervous. The exact same flight, seven days later, lost an engine, emergency landed in greenland wow they interviewed the french guy it was a motherfucker i'm so punchy i can't even it's brendan right uh one thing i wanted to say to you because i was looking at some of the comments on the trailer and someone said i'm so down for this brennerissance brennaissance oh you've seen this is it a meme i've been this is is it a meme uh i think it's painted on someone's ceiling sistine chapel yeah it's been has it been around people are saying it people told me the other day they go i want to see you make a comeback i go oh am i gone they're like i've always been here guys yeah you just never really know if you're in it you don't really know where you are on the no why i heard probably 10 times this week because just casually where are you going what are you doing while i'm doing this podcast i'm gonna interview brendan frazier oh i love that guy oh really every single one every single one every single one i love that guy i don't know how they got to got a memo or went to a meeting but anyway you know i'm gonna have to send him a jeez he's an oscar winner it's very it's difficult it's a little intimidating is it intimidating come on not from you guys i'm still it's definitely we don't have i'm kidding but it's it's kind of it's very cool It's an affirmation that you don't really understand what the protocol is until it happens to you.

9:50um and in you know the final analysis i think it's just um a way of me remembering how many people helped me get to that place where you're even considered and then when it comes down to that envelope opening moment it could be anyone i mean any other you don't we don't know you know and and there's relief because you said something we know an answer um you know and there's among you know in your category at least the year i was there we had we'd been through a gauntlet of press and that's a lot of questioning all of that and yeah that's your job you should do that but it takes a toll and what it does is just it's an odd job It's a weird job.

10:44But you become like, you know, you got a lot closer. You care for one another and you're pulling for each other.

10:49Dana Carvey:Who was in your cadre? Who was your co-stars? Not that they're losers, but they did lose. Oh, Bill Nighy. And who was the first one? Oh, Bill Nighy. Austin Butler. Okay. Yeah. I like him. Yeah. All great guys. And you smoked them. But now when you. Not true. No, not true. It could have been by 1%. You don't know. It could have been like this. How were you crawling up to the Oscars, like Golden Globes, all the Critics' Choice? What was your batting ratio? Yeah, how were you doing? What are your stats? I'm just trying to remember. No, no, no, no. Colin was winning everything since Venice. Or Colin.

11:29Other Colin. The other Colin. Hey. Colin. Banshees of Insurin. From Men of Work. You can say it. Oh, yeah, the Banshees of Insurin. I really committed. I just said it. I got it. I knew it was a lot of letters. No, I know you. Are you calling me? You think it's Colin Farrell? Colin Quinn.

11:48Dana Carvey:I just want to see how many Collins you know. I know. I don't know that many. Colin Quinn. If it's not the guy from Men at Work, I'm out. I'm going to tap out on Colin Quinn. No, Colin from England. Ireland. Come on, guys. That guy? You know that guy? Firth? Well, Colin Farrell. No, was it Colin Farrell? Yes. Did we already do it and we kept guessing? I mean, I guess it the first time you kept asking. Listen, I saw that movie. We'll be right back. And I saw The Whale. You did. Interesting. Yeah. The Banshees had no chance against The Whale. No. The Whale performance is like, it's supernatural.

12:28Dana Carvey:I mean, it's historic. Thanks, guys. I mean, it was just like insane. It was a lot of real hardcore rehearsal with Darren Aronofsky is the first to tell you that he would have been a baseball umpire if he wasn't a director because he's kind of guy sees everything he gets the last call he knows the play and he couldn't cast it right he saw you in some older movie and went ah that guy can do it what he said yeah yeah uh he he had that intention to make the movie for a number of years i guess but when we met uh i was you know i was this formidable director and if you're he's got eyes that are kind of like you very kind behind you know formidable frames you're looking at dana come on i gotta go anywhere to go get your facts straight jack go straight or hormones joe biden there you go biden someone someone goes into it he's clark kent and joe biden takes him off oh but yeah is he kind of considered is he a task massacre in a way but brilliant darren i mean i don't know but he's he has high standards and he he the thing about him is that he he does get the ideas from the best uh he calls every you know he gets everyone's opinion he's diplomatic he's a very good leader like he and he credits right away with whomever came up with whatever suggestion answer you know what to submit but he's also uh quick to say no that's not right and he's always he's always correct like he asked that from any department right wardrobe makeup all that he knows the answer and he has a real spontaneity and a confidence to him like if he sees something our scene is playing out he'll change the um order of the coverage to capture a performance from an actor from a different angle just automatically because he's like it's working like let's get he saw that So he'll turn the room around just to get that now.

14:35And I think he's among the directors who we admire who have courage, who kind of fear no art in a way. And having courage doesn't mean you're not challenged or you're fearless or something like that. But he does take risks, and I think that's where big rewards come from.

15:00Dana Carvey:Because you kind of work with less locations, so he has that ability to kind of flip the camera. It's not like we're going to the beach now. Oh, you had less locations. In the case of that film, The Whale, it was in one room, right? Literally in one room. Yeah, it was Charlie's apartment. And, you know, it was in 20... So it was almost like a stage play in that sense that you could really get intimate with the scenes. The play, yeah. The way it felt. Well, it was written as... As a stage play. Yeah, and adapted for the screen. Yeah, Dana. By Sam Hilder. Let me look at my notes. I knew that. No, is it better to have like a director?

15:32Because you've had a lot of directors. We've all had a lot of directors. And I think it's better when, because there's ultimately a final save. So, which makes the system work, you know, and everyone pitches in, you give your ideas. I'm in these movies, you give your ideas. But someone's going to make the final call. Sometimes they take your suggestion, but ultimately it's better when you think they're really good because it's easier to take when they make the final call. because some movies you don't down deep think they're any good and then you go so this is what we're going with okay and then you kind of go in knowing i don't think this is right and that's that's a tricky situation but luckily you got this guy and you probably work with better and better guys all the time um they're all good in their own way there are some directors who i don't understand their direction i will smile and nod yeah and then i'll try to get what they said you don't even know and then after yes that was it you're like i had no idea what you told me i did the same thing i know you try you go i think this is what they mean i've done that where they go nope nope and then yep ah and you go i don't know what happened

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18:45Dana Carvey:i still think if you had this experience with a director where they're sort of allowing you to discover it while you're filming or you have those moments where this you're doing it for the very first time like woody allen or something or clint eastwood they'll kind of huddle yeah you know which you would go to the end you know i mean and then they just go in and they start doing it you know have you had an experience like that you'll probably be good at that um i'll make a call um i think i'm a first take best take kind of guy yeah okay well there you go i think i'm early once once i started doing too much and then gilding the lily so kubrick would have been a nightmare for you it would have been a long day 200 even fincher they say that i'm like i would not envy being 100 takes like some people brag we like tom cruise like we did 100 takes to get it right and i go how bad is everyone like yeah you can't get it in 50 i mean yeah or what is Things are different now considering that it's digital, right?

19:41That's the difference. Because cameras are like flipping on a light switch. You just leave them on all the time. And then they kind of, we used to say, we'll fix it in post or in the box right now, overnight even. Yeah, digital was big. So it takes longer and longer. There isn't a rhythm of change.

19:59Dana Carvey:Sorry to interrupt, but I kind of like you sometimes. If you're comedians, you like to improvise. So digital was revolutionary for people like Will Ferrell. you know adam mckay just put the camera on him for like 10 minutes and will would just throw a line do what he does and pick the best one right and that can also be prohibitive in a sense that too much time too much time yeah and you feel like you are in almost you know a theatrical sort of venue when it's inherently work you know cinema for you know a smaller size performance so you know we're not asking a whole play scene but then sometimes there's pros and cons of course i mean the physical act of taking magazines of film off the top of the camera and having the rhythm of okay well they got to reload that means i can breathe for a second i'm checking with the whatever have a chat about this talk camera guy um now um you know a whole new generation is come of age in a period where it's ubiquitous and and and constant and it it gives you a sense of um needing to be on all the time yeah it's it's open-ended it's not really there's an interesting thing when this happens when you're shooting and then they they're doing more and more takes and if you even feel like you're getting it right maybe they're looking for something else and then i start changing my performance because i go we're not moving on so i'm going to try different things and sometimes when they move on i'm thinking the early ones were better i don't you know i think maybe they're looking for someone else's uh coverage they go oh that was better and i'm like well now i'm stuck in mine that i didn't love these things is inside baseball but you know what i mean like you go i'm just changing because we're not moving on so i'm tweaking and trying to try anything else to feel like it hit and then And sometimes the one they go, got it.

21:54And you go, wait. And then you have your own inner critic going, you know, 10 minutes later. Oh, I should have. I could have. That's the worst when you move on. And then you go, wait. And then you got to feel like you're going to run up the escalator and get to the top. I just want to do one. Yeah, yeah, yeah.

22:11Dana Carvey:Since you did, you know, big comedies or, you know, and then you've done real drama. do they scare you equally or or it's like what's the most frightening for because i i think just being very vulnerable on a set would be harder than comedy in some ways i'm not i'll shoot just straight dana i always feel like someone's gonna walk in the door and hand me a dish towel and say fraser get back to the get out of here you know i it just it's in me i know sure so even after the oscar you didn't kind of affect you a little bit not cocky but a little bit i must be doing something right well i got the yeah i mean like well in that case i do know that with the whale i i did everything that i've humanly possibly could it was 2022 we all thought we were going to die tomorrow anyway because code there's existential threat for everyone actors are you know ideally supposed to do this like it's the first and last time you ever will so you know leave it everything give it everything you got that's right for the part um when when i can remember feeling like i had everything to prove at that time in my career and um if the film didn't land with an audience or it was not received in a favorable way you know with everyone has best hopes for the work then i i would i just would take it straight up no chase that okay i really don't know what i'm doing because i was all out of moves yeah i didn't have any other ones so that that that really did exhaust what was in my repertoire at that time and so it's nice that it was well received and that it was awarded and given all this recognition but it is not because of anything that i specifically did it was hung tower it was sadie sink it was daring i think was good in that yeah i i think it's also you you get in a place where you go i hope this is the one that works because it feels like to get the elements to come together forget you know you get the cast and the director and the script and then you go and the editing and the promotion and you're like and the trailer and you go so far we're doing good i've seen the final product we just got to get people to see it and a lot of movies that the wheels go off earlier and you're like i don't think this is the one i don't think this is going to hit it on all cylinders and and then there's that x factor of who knows what audiences where they are culturally in their headspace what you hit it at the right time what do they need to see what do they want to feel more about you know we all go through these sort of trends of yeah culture right what you think about the way that's true yeah so with comedy it really there was you know tropic thunder and the hangover movies like that right only till recently there was an r-rated comedy kind of felt like it was from the 90s a brief brief run at the box office i was called busboys that david made it's great i did a movie but it was low budget movie it was post any kind of woke stuff it's It's politically incorrect.

25:26Yeah.

25:26Dana Carvey:Yeah. Which brings me to this question, Brenton. Yeah. Is it too late for you to be in Busboys? No, is it? No, when you did. I did answer the call back in the day. Oh, you came. Oh, I love it. That was Sam Weissman, right? Because he did Tarzan, right? George of the Jungle. George of the Jungle, yeah. What did you say? George of the Jungle. It was George of the Jungle. You played Tarzan. Or George. You played George. Tarzan Farrell. Based on Tarzan from the cartoon. so so you've had quite a range man you do uh let's just say some comedies then you get really deep all the way to the whale you did a rental family which was a very nice feel good movie now there's sort of serious on rotten tomatoes not bad right yeah an incredibly that's i got 88 with all mine combined i read a review um it was 86 well i'll talk later you um i read a review said oscar worthy this is for them really yeah possibly if you know an audience's headspace was in a place where it needed to hear that kind of story or appreciate in the case of renal family it's a movie about a guy who is in a country that is not his own and the country he's not in is the United States and he hasn't been there for about seven or eight years I mean you figure out why did he leave America who is this guy who is this guy and what was it that he doesn't want to go back to well you know what's the temperature in America today that's a whole nother conversation right and it's but he finds himself in a new place and he's extraordinarily lonely in one of the busiest cities of the world yeah and uh is realizing that yeah he's gonna die a lonely man who with father issues of his own if he doesn't have some sort of sense of connection with people that he can't get through his acting career because let's face it he's not a very good one he's big gig was mr clear bright man in the toothpaste commercial and you know and that's trope it is you know if you've ever been you've been tokyo i mean you see there's mascot culture is huge yeah and uh expats taking those jobs are like plastered all over uh advertising everywhere in japan and um it's still not enough and once he stops performing you know in this sort of buffoonish clownish way and is able to make proper connections with people in a meaningful way when he's not you know performing for a camera but instead he's working at a service industry to give companionship to people who are in a word desperate for authenticity it's a good premise And if that can help, it does.

28:26Sometimes it can't. And that's where this film really lives. What are those thorny questions about standing in as surrogates in people's lives?

28:39Dana Carvey:Well, is it kind of fun playing an actor who ends up acting like he's pretending to be the long lost father or whatever? He goes on. So the guy you're playing is also pretending. It's a performance of a performance. You're right. Until the logarithm gets a little bit too confusing. And he just realizes, I'm going to stop doing that. And jump in with both feet. And then learn, of course, that he indeed is actually being. Is there anything like that in Japan? Yes. It's a business model that existed since the 80s. I did not know. Wow. That's why it's a great idea. and then uh yeah i saw a scene with you and this young girl and she was shannon gorman she was nine years old never acted before she was nine oh she was good she's 12 almost never acted before no oh she's nine years old i mean she was a little kid it was around the block by the she should be a little worn out by nine yeah no it's a couple sitcoms um that was but anyway so she was really good right there is something about the purity of a kid you know maybe not overthinking well when you're when you're casting a kid you're also casting their parents yeah you know how were they that's terrific oh good i mean just terrific supportive her mother uh is japanese her father is irish so i mean she fit the bill to a t um she was naturally gregarious and interested in pleasing the grown-ups and performing on her own so you know it it fit the the criteria perfectly and we quickly learned we had to stop rehearsing with her because she had because she hadn't acted before she was learning kids are sponges right you know and we didn't want her playing her game in a locker room so just get her on set yeah shoot it capture lightning in a bottle you know i liked it this this uh hikari was that the director yeah that's right and is hikari someone who you knew something they did or you just the script is the part that got script was first uh i did not know her i met her of course but um that was just before the strike and then we had to wait for a year um she and her writing partner steven blau were in tokyo trapped there during the lockdown and he's an american and uh he was looking for a job and he was going through like classifieds and he saw an advertisement looking for yeah it's great you know rent rental boyfriend or rental you know that sounds a little hokey and a little dodgy in some ways those services exist you can have a whole nother movie but and he said what is this he asked her she said i'm japanese i don't know what this is and that's how they started researching and finding out interesting well the fact that's real is even better hmm and what's this latest one i'm sorry it's called pressure yes i'm very excited to see are you really i honest to god i saw because it gave me vibes of the churchill movie with gary oldman focus features yeah that's what they do yeah and i love that movie i've seen it probably five times my wife and i'll visit it every once in a while but this one um knowing a little bit about it you know and how intense the weather thing was and how rudimentary our weather thing was yeah so how did this come to you and i want to just know what what you you know you're going to play dwight d eisenhower i mean at first you kind of go okay and then right and then what do you do yeah and tell them tell the crowd a little bit about what it's about sure yeah uh well pressure is the weekend before the d-day invasion which was as history tells us tuesday june 6 1944 i didn't know that the date originally was monday june 5th 1944 largest amphibious attack 300 000 troops in a morning ever it's the biggest location detail logistical new equipment never been done in battle before early call sheet for extras exactly we gotta get there at 2am we gotta start shooting at 6 well one of the most indelible moments of my cinematic life, seeing the longest day with my dad when I was like 8 and the Germans are like they don't think there's any attack coming and then he goes and you're like that and you see like a million ships.

33:26Dana Carvey:Yes. And as a kid, I was like, holy. That weekend, of course, they factored in everything that goes into an invasion. And certainly meteorology and the weather plays a huge part. That's another combatant, essentially. And it was for the efforts of a meteorologist named Skagg, who was courageous enough to stand up and tell everyone, almost Cassandra, like, you need to heed the warning that there is an inbound storm. And delay this. Not just a storm. Like a big storm. Six-foot waves, Air Force couldn't hit targets, landing craft. I mean, those were dodgy enough to begin with. Many of them didn't make it under good circumstances.

34:25And he said, you have to take this seriously. And they did delay, actually. It was going to be later. I think it was the 18th was the soonest they could do it, considering the faces of the moon, the amount of reflected light to attack, the level of the times.

34:46Dana Carvey:17th and 18th, yeah. Everything. And you're the guy that decides. Pardon? You're the guy that decides. Well, he had the final word. You know, he was, Eisenhower of the Joint Chiefs of Staff was the last word and the final word. And the responsibility was his and his alone. And he took it. He did. I mean, he's, as I studied and learned, he wrote a letter in advance of a response to whatever the outcome of the invasion would be in victory and one that was in defeat. And the one in victory was the one that we know of, but he cared for the troops intensely. That's, I mean, no secret. He definitely didn't have we will get boots on the beach no matter what they knew they were going to go and have a bare knuckle fight with a chainsaw as it was already but he didn't want there to be the he wanted the fewest reasons for people for his soldiers to prevail knowing that there's an estimated 75 % casualty anticipation.

36:11That's on a good day? Under those circumstances. Whoa, whoa, whoa.

36:15Dana Carvey:We can talk about it. And hearing you say that and seeing you get a little emotional, it is sort of like hard for us to fathom his responsibility. Sending people in. That task. Those young men that happen to be 18 or 19 or 20 or 21 on those landing craft, you know, it's just it's um you know we all saw saving private ryan which was sort of it's it's an it's an anthem for you know the genre yes there are battle sequences to put us in the right place that are in the film pressure um because you know they're required but also um pressure takes advantage of um archival uh footage documentary footage that we're all pretty familiar with we'll watch the history channel growing up but that imagery was actually a dupe of a dupe of a dupe of a dupe and so anthony mara's director went to the source and he up-res the originals and you know whatever our feelings about so you know guardrails around cg or ai which was formerly CGI you know

37:29it does give you a feeling of authenticity when it's also a different eye you're seeing it because it's very real it is Ken Burns film was on the first world war was inspiration for this and you know in that one you can see soldiers breath you can you can they brought in lip readers and to learn that somebody in the trenches is going oh the sergeant he's lost we're gonna you know or they're swearing at each other who took my boots or you know whatever it is you can and it gives such reality to yeah and and and the way that we see the footage in the film uh pressure it seriously looks like it was shot you know last week yeah on a news broadcast but it's the real thing you probably wouldn't have used it if it wasn't looking up to snuff anyway well that too and also hey let's you know it saved a lot of money because a lot of that gets recreated and you know to various big big levels of success things to recreate yeah right

38:34Dana Carvey:yeah charlton heston chuck uh he told me once they couldn't make ben-hur again and they tried um maybe 15 years ago because of the real chariots and if it's a thousand people it's actually a thousand extras right two thousand extras it's just so vast but we'll see where ai goes but it's it's you're trying to get it connected to you can't tell it it's not a real guy on a horse running and stuff i guess it's when we don't see the construction lines around the images, our brains are satisfied. I mean, you know, we, gentlemen, we live in an age now where the next generation has had their lobe trained by digital imagery to recognize what smacks of authenticity and what does not just automatically by virtue of looking at phones in their hands since childhood and i didn't we had something completely different i mean we can all remember looking at cgi heavy movies in the 90s and the 80s and you know giving a pass to really funny looking effects but they all had their certain charm at that time too i can tell what's written the first jurassic park was the best i saw first jurassic park first jurassic park the dinosaurs was it when he jumped at the sea the rep the raptor who jumped i jumped when i saw that film the one they're in the kitchen and the dinosaur they're trying to climb out think through a hatch in the ceiling and the point of view is down and the raptor comes in looks up and jumps and you go ah boo scare i think so i remember they brought spielberg there's five of them now a thing about the movie before they did it and what convinced him was they showed him what the dinosaurs would look at he watched and he goes oh shit this is this is better than i thought let's do it wow if they can look like this we can do the movie around this you know which they did and it worked.

40:30I have some trivia for you.