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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.
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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 PalacesVisit the Cinema Museum in London: cinemamuseum.org.ukExplore the Kent Museum of the Moving Image: kentmomi.orgListen in for a fascinating conversation about the intersections of cinema, architecture, and community.
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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.
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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
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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.
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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. -
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.
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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.
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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.
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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.
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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
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https://www.caroleenjettgreen.com/
https://viewpointsgallerymaui.com/
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"Star Wars came and changed my life."
Steve Sansweet, former bureau chief of the Wall Street Journal, shares his passion for movies and collecting, particularly Star Wars memorabilia. He recalls his childhood love for movies and science fiction, and how he started collecting science fiction toys and robots. He discusses the impact of Star Wars on his life and the collecting community, and his role in writing the book 'From Concept to Screen to Collectible'. Sansweet also talks about his time at Lucasfilm and his extensive collection of Star Wars memorabilia. Steve Sansweet discusses his favorite Star Wars collectibles, his role at Lucasfilm, and the growth of Star Wars fandom. He talks about his involvement in creating the Star Wars Encyclopedia and his time working on the special editions. Sansweet shares his experiences at Star Wars celebrations and the importance of fan engagement. He also reveals his favorite piece from the Phantom Menace era and discusses the challenges of collecting Star Wars merchandise. Sansweet reflects on his time at Lucasfilm and the future of Rancho Obi-Wan.
Links:
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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.
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Peter Kuran's "The Thing" Kickstarter -
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."
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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.
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Episoe 104 - This time I chat with Ahsoka producer and ILM VFX Supervisor, Richard Bluff along with his colleague Matthew Wood, Supervising Sound Editor.
Key takeaways:
The collaboration between sound and visual effects departments is crucial in creating a cohesive and immersive experience for the audience.Early involvement of sound in the production process helps inform the visuals and enhances the storytelling.The use of practical effects, such as miniatures, can provide a unique and grounded look to the visuals.Designing and creating sound for ships in the Star Wars universe involves a balance between familiar elements and new, unique sounds.The organic and mysterious nature of the Eye of Sion and the witches' voices in Ahsoka adds depth and intrigue to the storytelling.The balance between using technology and practical effects is a constant consideration in visual effects production. The use of LED screens allowed for interactive lighting and realistic reflections in the visual effects of 'The Mandalorian' and 'The Book of Boba Fett'.Collaboration between the visual effects and sound departments was crucial in creating the desired effects and atmosphere for the shows.The Howlers were created using a combination of motion bases, horses, and visual effects to achieve a realistic and dynamic performance.The creative team is constantly looking for new techniques and technologies to improve the visual effects and sound design of the series.
Ahsoka is available to watch on Disney+.
Enjoy!
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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!
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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.
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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
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Skywalker Ranch Archives Fly-through from the blu ray boxset
Archives Tour with Don Bies from the laserdisc boxset -
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.
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