TechList: The Tech of Stranger Things

You can go to the tech Stuff podcast page and subscribe to listen to all sorts of episodes about tech from all realms, and hopefully this will provide a little bit of entertainment, a little bit of education, and probably more than a few puns, because that's kind of how I roll enjoy this playlist. Welcome to text Stuff, a production from I Heart Radio. Hey there, and welcome to

tech Stuff. I'm your host, Jonathan Strickland. I'm an executive producer at iHeart Radio, and I love all things tech and we are going to continue our playlist on entertainment.

And this episode involves a couple of the members of the crew for Stranger Things, the Netflix series, who came into the office and talked about what they do in order to make the sets work the way they're supposed to it actually, and how they look too, and you know, Stranger Things was set in the eighties, so getting everything to look period appropriate, if not you know, accurate, was a bit of a challenge, especially with all the tech.

So we're gonna take a listen to this episode. I have to thank my two special guests who have joined me for this episode of tech stuff, Jess and John, who both have worked on multiple projects, but the one we're talking about specifically today is the Netflix series Stranger Things, a show that I binged immediately when the first season came out and fell in love with it, not just because I recognized some of the people in it, but because it really felt to me like it didn't feel

like a show set in the nineteen eighties. It felt like a show that was made in the nineteen eighties and somehow disappeared and then resurfaced twenty years later, and it's it's so evocative, and I wanted to have both of you on to talk about your roles in making

this show what it was. So we're gonna talk today about sort of the text side, the the behind the scenes side of making a show and and the work that you do and how that ends up contributing to this overall effect whatever the show maybe or the movie, whatever the project is. In this case, we're talking about something that is a period piece. But you know, obviously there are other ones where you have a very different feel for whatever the project is. So I'm going to

start with you, John, John, you are rigging gaffer. Tell listeners who have seen I'm sure the term gaffer in the credits what that means, because I think a lot of folks just don't know. The gaffer is just a department head that's in charge of the electrical so electrical distribution and lighting. Um. I think the term comes from old man. Yeah, with the old man on the crew, he's in charge of the lighting. Yeah. They have a the term gaffer in uh and Lord of the Rings. Actually,

Sam Wise gamgees father is called the old gaffer. Uh. I say that because of my Lord of the Rings geek. So what are your responsibilities typically on a on a shoot as a riding gaffer. I'd provide the power to the set and any any lighting that we can get up before beforehand before photography, We'll get that done as well. Cool. So you are making sure that all the stuff that

needs to work is actually going to work. An important role on any production and how did you get your start in in the business known as show I was a nanny for a director of photography in eight the summer of ninety eight, and I watched his kids during the summer and after at the end of the summer, he had me tag along with him to go work on a film. And after the film, he was like, Oh,

you'd be great this. You should move to l A. I got my friends that can hook you up at a camera rental house and you can do that for a little while. And I was like, I don't want to do that. I want to move to New York City and be a bum. So I didn't get into it right away. I was a maintenance man and apartment complex and all my tools were stolen, and I was like, I'll go work on movies a security circuitous route to get there. So did you have a background and electrical

work before you even got into the movie. I've done like my dad does h V A C. So I kind of dabbled on that during the whole maintenance for apartment complex thing. I kind of understood electrical systems, right, So you then take that understanding and you start pouring it over to the production side. Where I imagine it's a a a fairly uh strenuous process to make sure

everything is how it needs to be. Because obviously any time on any set is money, so anything that takes extra time is going to cost the whole production extra amounts of money. So I mentioned it's a fairly high stress environment. It is. Yeah, Uh, I don't get a lot of sleep. I always called Jesse will workaholic, but really it's for me. I do it all at home and she doesn't see it. It's fair. And now, Jess you you were a set decorator, are still our sick

decorator for stranger things. Also, congratulations on getting an Emmy nomination for that. Thank you. That's amazing. I at this first time I think I've ever sat down at the table with an Emmy nominee. Uh yeah, it's it's a big moment for me, That's what I'm saying. So let's talk about what that means. What is what is actually

set decorator on a set? UM? So I work under the production designer UM, and the production designer kind of sets the look like, helps pick locations UM and then you know, has a lot of references and different things as far as the minutia of how a set comes together. Um, there's an art director who kind of oversees more the construction end of things and then everything from like those

four walls. For the most part, I kind of deal with so light fixtures and um, you know, carpet and sofas and electronics and all the garbage and some sets and piles up in the clutter. That's my specialty. So when a when the art department has said, like, oh, we've got this idea for what the the feel for this particular set needs to be, Uh, it's your job to go and actually procure all that, put it all together, make sure that it's matching the vision for whatever that

that idea was right. Yes, and on a on a production that's a period piece, I imagine that also involves lots of hunting around for really obscure and obsolete stuff. It does. I spend a lot of time and I always tell everyone dead ladies, basements, the state sales. I'm always like emptying out the leftovers of houses, you know, um after an estate sales over um. And you know.

In Stranger Things is one of those weird shows, especially where everything is a little bit interactive kind of which is why, Um, that's why I wanted John to be here, because he's I think he's sold himself short a little bit as far as like just preparing or providing power to a set. Because we had so many interactive elements, you know, lights and otherwise that um kind of had to be period and had to be functional and do

a bunch of different things. So yeah, a good example that would be, of course, the Christmas lights make up play a huge role in that season of Stranger Things. I mean, it's it's a communications device, and I don't know how many of my listeners know this. Christmas lights don't work that way. Typically you have them all rigged ump so that if one goes out, they all tend

to go out, especially the period ones. So getting them so that they very they light up in very specific ways, uh probably meant a little bit of rewiring work and a little bit of rigging things in an interesting way so as you could get to do it on command. That was such an important integral part of the storyline. I remember. I remember when they came and asked me.

They were walking through the Buyer's House set. It was Chris and Jess and Todd and they were like, we want to make each light go off and on d visually. Is it possible? Yes? And I turned around and I walked back in my little office and I was like, oh, no, how am I gonna make this wart? Like, technically yes, it's possible, practical not really, So so how did you

go about solving that problem? Um? I just started scribbling a lot and locked my door and just trying to figure out how to get lights to go on and off individually, which means we had to build individual strands of lights. So I ended up, I guess it's on a low tech We're kind of getting at low tech as possible. So I ended up using Cat five cable and taking all the different strands and making them individual and soldering them into old Christmas likes that Jess would

bring us. Wow. So you were actually hand designing something so that you could achieve this effect in a practical approach. That's one of the other things, by the way, that I love about stranger things and being I was born in the seventies, so seeing uh, not just something that is set and appears to have been made in the eighties,

but to rely so heavily upon practical effects. That warms my heart because I grew up watching films that relied heavily on practical effects, and I think it is very important to get across that same feel in order to get the effect that you want and not rely too

heavily on anything that's computer generated. Not to dismiss computer generated, it certainly has a place a storytelling, but to me, at least in maybe this is my own bias, has uh, it just it just has a different look and a different feel, you know, there's something genuine about practical effects. And not all of ours went. Uh. We had different test runs that the Duffers for would they kill if any of those videos ever got out. Some of the ones that didn't work as well. Um with like the

monster coming through our latex. We have you know, printed the wallpaper and stuff in the buyer's house onto latex, and we had all these different tests so we did with various um, you know, slimy substances and things on. Anyway, they didn't all it took a while to kind of get that just tweaked, you know, just right fashing the surface of the wall, and originally they had him breaking

through the wall entirely. They're trying to do it all practical, and um, I think it's nice to have technology options where VFX could just take what we did and really enhance it. And you know, uh right, yeah, eventually you get to a point where you just say, you know, physics just doesn't work that way. Yeah. Like, I like,

I appreciate where you're trying to go with this. Yeah, I love that there was a latex approach a practical approach with that too, because I mean I also, full disclosure, my sister's a puppeteer, so I see the puppeteer side of sort of this kind of stuff all the time. And to appreciate practical effects where you're using something like a latex sheet and you're using some form of whether it's an actor, a mask, a puppet, or whatever, to to create that effect. I mean, there is something really

visceral and and the textures are really impressive. It's something that goes again beyond just that. Oh, there's a very clever animation. Uh. And and also it just shows a level of care that you know, you have to have all of that work back behind the scenes to get that effect to happen on on screen. Uh. That is happening in real time somewhere. It's it's it's not a bunch of people staring at a green wall pretending that they see something that is really effective and then having

to react to nothing at all. They actually have stuff to react to in those practical effects. Uh. I am not an actor that's good enough to react to a green screen with and and make that at all convincing. I need to have some sort of monster thing coming at me so that I can really, you know, be somewhat convincing in my response. And the Christmas lights is the same thing, because we um, you know, I think it looked a lot more authentic and better to have

it practical. But even um, there's like the scene where Holly, the the young Wheeler daughters like following the Christmas lights down the hallway. Um, and I think if we didn't have all of those actually lighting up in her having that direction and sort of all the interaction you know, with the lights and actors, it wouldn't have been the same. Now, you wouldn't be able to get that tension. Yeah, that's a great moment, So tell me also, I mean the

Christmas lights. I think that's one of those that I that I definitely wanted to hit upon because a deceptively simple technology that ends up actually requiring thinking outside the box in order to get the effect they wanted, so then requiring you to actually solder things weeks weeks. We wow, So if you had to estimate, like how many weeks are you talking about for that just to make sure you could get that effect to work properly, it was two weeks. That's I mean, that's a lot of work

to get Christmas lights the light up built. I think we only built out of the twenty that we were going to build, we only built seventeen because that's all we had time to do on top of everything else that we had to do. Yeah, yeah, so because then they would so they would solder these little strands, you know, onto the sockets, and then we had it involved me going back to props Um the lights that Joyce originally

buys at mel Ball's Um props. I guess it just sort of had newer lights in the box and wasn't really thinking about the bigger picture, so we had to go back. Can have switched those out for the older strands to have like the green and red twisted sort of look. So that we could that that was the easiest thing for us to copy, so they would finished soldering and then we would paint them green and red

and twist them all together. Um. You know, so there's like a whole there's a whole collaborative effort annuity right there making sure that like because I mean I see a lot of movies where clearly that that level of care was not quite taken. You'll look at something and things like that's not even the same prop as what he was holding a second ago. So having that kind of level of detail is really cool. Uh So I assume there was someone just like actually just manually operating

those lights for all those sequences. We had our demmer board operator Jim Dornoman. He programmed all that and operating real temperate, in real time. He's another one of my heroes too, because these guys because it wasn't because the Christmas lights were one thing. And then um there's also like the scene with the lamps and in in the bedroom,

um and Winona having to you know, bring it. I guess we never had a scene at first they're going to show her like bringing all the lamps in and setting them up, and that was going to be like a whole other nightmare. But um, once they were sort of you know, they're just getting those programmed right to do that effect. Um, Jim stayed late with me one night and just like we did, you know, kept practicing

and getting all that down. So see, to me, that's really cool because it's not just technical, it's it's a level of performance. I mean, you we're playing effectively another character in the scene, and so you know it's there's there's all the timing that's required in that too, and again to get what the director wants in order for that to have the emotional and psychological impact on the viewer, which,

by the way, credibly effective because I loved it. Uh So you know, I'm my hat's off to you because I occasionally am a performer, but I couldn't do any of the rest of it, whereas you guys are doing

all of that. So I'm really I'm really pressed. I assume that it's is pretty tricky outfitting entire sets with nineteen eighties era uh, carpet ing, furniture, the technology in particular, because we're not so far removed from the nineteen eighties that we think of those things as antiques, so therefore there's not a lot of work in preserve preserving them. But we're far enough out where nobody wants to hold

onto them anymore. So was was that a challenge to you to to find things that could incorpe that could live in that early eighties setting? Not as hard as you would think. I think pigion mostly just because thank God for state sales and Atlanta being a good estate sales city. Um. I've worked in other cities where you just don't, you know, they just don't operate like that. You don't. I don't know how people get rid of their stuff after they've passed. I don't know, but um,

Atlanta is good about it. There are other like I've done other movies. I did a movie, um that It was a news station set in the seventies. Um and that's one of those like there's already not a ton of like news broadcast station equipment out there, not like you know, old nintendos and things, but um and and then it was so fragile. It was sort of that like just that first wave of like electronic technology and the old analog stuff from like the fifties was you know,

you can get that kind of stuff. Um, but that's but getting stuff that worked that was that's sort of that. Um that first generation plastic electronic disposable almost like technologies was harder. But um, fortunately for you know, Sears catalog days, a lot of Americans all had the same stuff and enough people held onto it her pack rats that we could kind of curate and go through and find everything

we needed. Yeah. I I went to a panel with uh, the art director from Stranger Things, and he talked a little bit about the sess of identifying the different the different types of of fabrics and the different color schemes that we're going to be important and how you know, certain certain houses we're gonna look like they were more of a holdover from maybe the mid to late seventies and some were a little bit more modern in the

sense of the early eighties. And uh and that also was really interesting to me, this idea of you know, you're not just you're not just creating creating a huge pile of stuff from a general era. You actually have to give each of these places its own personality. Well that's yeah, there is a I tell people the story that one of our accountants came to me after we were like up in filming the first week or so on stage and um, she said, you know, Jess, I

saw your sets. They look really great, but gosh, like is this this is the eighties and they look very seventies to me, And I was, you know, and it's one of those like not every socioeconomic group is going to just instantly have you know, the eighties. Yeah, from

like that's year's catalog that year. It's all. It's more of a you know, when did they build a house, When would they have you know, renovated or was there you know, what did they have the means to update the carpet, wallpaper or whatever, and kind of have to just think it through. Um, each character having its own sort of storyline with their home keeping everything consistent. I mean that is clearly very important if you want to

establish things, like, you know, u believable character. It would be weird to go into a home of a person who was presumably just scraping by and you see what it appears to be a brand new apple two gs in the background. You're like, that's a couple of grand Where did they get that money for that? They? Yeah, So was there anything in particular that you either of you that you think was really interesting or really cool. Uh, something that you had not anticipated, uh that you know,

that's like your go to. Like you know, if if people are asking you, what was it like, Well, let me tell you this particular thing that I was really excited about. Whether it was something that turned out the way you expected at the beginning or something that completely went a different direction. Getting getting invited back to season two, that was that's good. That's good. I think if you were able to take all of those Christmas lights and

make them light up individually, that's a really good start. Um. I don't know, I don't that's I mean, that's why I was thrilled to be here today and asked John to come to because for me, that sort of like a collaborative overlap um my thing. And he knows this well,

is it like today? In film? Um? Like everyone loves led lights lighting, even if they're trying to make even if it is like period or they wanted to look um, you know, period, they still kind of fall back on LEDs because they're easier to control and and I kind of hate them, so, um, I mean I'm coming around to some of them. But anyway to have them to have our electrical department have the patients to kind of like really do it right and work with the older technology.

And and you know that that was a it was a long process. But the fluorescent fixtures lots fluorescence because their period of course, and hardly anyone stocks fluorescent ballast that we had to replace hundreds of ballast in high schools and Melvols and all over Georgia we replaced ballast. Wow, that's a that's a big undertaking. That was awful, But but it pays off on screen because it does give you that like like that's why it feels like it was made in the eighties is because it has all

of this this love and care behind it. And you can see that rolling out through other projects that are clearly following that same philosophy. I mean, Stephen King's it coming out, Like, I think the look of it owes an awful lot to Stranger Things. It has a very similar kind of field to it. For that that second, I mean, it's amazing to me that they went ahead and decided to set the adult story in modern day, which conveniently made the children's story set in the eighties.

And so there are a lot of parallels there. But it's funny because of course Stranger Things also, you could tell has a little bit of the the influence of Stephen King is certainly in the Stranger Things universe as well. So it's all kind of feeding in on itself. It's um collaborative and cooperative as well as competitive process. I'm sure. So, Uh, were there any particular sets that you really liked working on or any that you really did not like working on?

I don't, John, I probably will have different responses, but um, I mean the Buyer's House is one of them. I tell everyone, it's like its own sort of character that

we have. You know, it's at least we shot it in a for the most part chronological order, because we really literally destroyed it completely, um as we went and you know, Joyce ripping things apart and monsters smashing things, and um, I will say it was it was towards the end of it when all the Christmas lights were up and like half pulled down, and it was an

absolute nightmare for the shooting crew. I mean, for a boom operator to operate in that setting was just like it's uh, you know, it's everyone was getting like tangled and um, it was Yeah, it was truly like a It was a it was kind of fun to watch it progress, but it was a it took a lot of patients. They're not not every shooting crew would be

cut out to kind of handle that. That setting. My least favorite was the high school because we had again we had to go in and replace every fluorescent, most of the ballast in there. And then towards the end of it, when they had the scene with eleven and the monster, everything starts to go crazy and flickers, we had to take everything out and we reinstalled our own led rips throughout the school so we could make everything flicker on and off. That's a lot of work. There's

a lot of work. And it wasn't even just led tubes. It was like because they were soldering again. I just would see that, you know, you guys were on sodering in some old classroom, putting led strips in like twos or whatever you were doing. Yeah, that was well, what was what was it like working in Uh? Did they the facility? Wasn't that set in an old building and emory? Yeah, Hawkins Lab Law was that experience. Uh, I'm you know,

there are a lot of shows that film there. Um, I feel like we were still in the early wave of like some of the shows that were like really working on all the different floors and stuff. So like especially John and having to go up and put you know, move ceiling tiles out of the way to run cable and stuff. Was like, you're for the first time in forty years, you know, you were you were you were the explorer that everyone else got the beef we found

all the rat facing. Yeah, Well, for people who don't know, can you talk a little bit about the building itself where the Hawkins Lab was, because I think you know, again, everyone sees it in the show, but they don't know what the actual space was. They might just think, oh, was that just a set on a studio, and in fact that parts of it at least were very much

in a real building here in Atlanta. Yeah, we I will say, like when we were first when the Duffers were first here and we were gonna, you know, film Stranger Things in Atlanta and full disclosure, I sometimes location scout when I'm not decorating. It's like my secret job. So um, so I was doing a lot of the like early scouting, trying to figure out what Hawkins Lab was going to be and how undercover and small it was going to be or how big and um, you know,

just what the look was going to be. Yeah, and I we didn't all agree. I felt like that building at Emory, with its metal facade and kind of craziness on the outside, was a little like ostentatious for secret sort of from a facility. But um, anyway, but they loved I mean, it is a pretty impressive building and it's very distinct, and what they did within in posts, like putting the satellites and stuff on top of it,

made it all kind of work. But um, yeah, it's a it's on Briar Cliff here in Atlanta, and it's an old mental hospital. Um and uh yeah, so it's truly creepy. It's not everything works in there anymore. Powers like kind of like hit or miss in some areas, and uh, a lot of leaks and things. It's yeah, so it must have been a tough one to work in as well, John, did you do you have a lot of challenges going through all that. I mean, it's just like that place they just stopped one day and

everyone left and then people came in behind them. And trashed the place. So there's broken glass everywhere, there were needles everywhere, um, and just trying to figure out what like how to power how does this light come on where? And you have to trace it all the way down sometimes in the floor underneath you or the sub floor

underneath you. That was definitely a challenge. Wow. So I'm sure that was one of the more difficult ones to actually to power and make sure that everything was working properly. Uh yeah. I saw the pictures of sort of the before and after during one of those presentations, and it was really, um, really alarming. Actually, there was a shot that was just down the hallway and it was possibly the most creepy looking photograph I had seen in a

really long time. Well, the one thing I will say is that we had every intention when we first started of shooting um, like the the sort of rift lab in Hawkins, like where the tank and everything is. That was the tunnels leading up to that and the opening scene where he's like getting off the elevator and everything. We're going to do that at Emery, which is they actually have these like underground tunnels, um that are that

are It's pretty bad. I don't even know yeah, it's like asbestos and all these like you know, it's just it's dark. There hasn't empowered on there forever um. And so at the last minute, I think they've done these like air quality tests and stuff, and they finally said, there's okay, this is great. The texture is great, it's authentic,

but we like, really we cannot film down here. So we ended up copying the general look of it on our stage and we built a series of tunnels that were a lot more easy to control from a lighting standpoint in every other aspect, so right, and you don't have to worry about breeding in Yeah, when we do that, I feel like the like John and I and our cruise that are there, you know beforehand, so early working on places, especially those guys with like the ceiling tiles

are the hidden that's what is above those is uh the real you know there's yeah, there's there's a whole treasure of exactly. Yeah. Um. So we deal with the worst of it, and then I think shooting crew has a little better time. By the time they get in there, it's all been cleaned up a little bit. And then they course then you have you know, the very pampered people to actors. That's fantastic that they complain a little

bit about it being a little chilly outside. Like listen, when we came here, there was no power, water was coming in and there were rats everywhere. So there's some sets like in season two, um which you know, who can kind of leave everyone just sort of experienced later this month, but um, it's there is an arcade and just know, like when we finished all this off, show you the photos. But the before was like an old launder matt dry cleaner place that had been sold, closed down,

leaky roof, all the same stuff. The hoarder had taken it over and it was like to the ceiling with like mattresses and diapers and like whatever garbage. And so that process wasn't another good one. We've had a lot

of stranger things. Is like people who hear about our production, I feel like who also shoot in Atlanta are like who he seet and kind of know what we started out with then what the final product is are like why you know your show is like does the craziest Like we're willing to put up with a lot more, I think than a lot of other like productions, Hollywood productions that you know, would never touch some places that

we go into. Yeah, well again it pays off though, so I look forward to seeing those photos because of course, again growing up in the seventies and eighties, I have a lot of fond memories of arcades that you just you know, you very rarely encounter those kind of places these days. It's going to be another one of those like why would you put the effort into it? Like it's but it was just little architectural things about the

building that we thought were kind of great. And I don't know everyone that you run into one of those places where you're just like, well, everything inside here is is trashed, but it's so evocative of that particular thing you're trying to do that you know, I'm sure it becomes one of those debates that rages in your mind, like is it going to be worth the amount of effort it's going to take to get this place into shape?

And if the answer is yes, then you just have to grit your teeth and go for it and and and uh, you know, get the work done. The library we had the Hawkins Library, Yeah, um, we another one of my really good ideas that there's a a library in downtown East Point, Georgia. That was, Um, it was like on the places in Peril like a story preservation list. It was. It was leaky roof, same thing, you know, asbestos, mold, tons of tons of mold. They had standing water in

the basement for like two years, um. And we had the big idea to spend I don't know how much we spent there with like a full like mold remediation and abatement process. Um. And then you know, John went in and fixed all the light fixtures and we went in and put in you know, the bookcases and of a lot like twenty books and um, library card catalogs, all that stuff just to you know, for really not

at all much screen time. Um. But you know, but you need a perior of library and you gotta start somewhere. So um, we ended up at actually donating I donated like the books and everything to the City's point to stay intact there so it can it kind of gets now rent out as a location for other productions and that money kind of goes into keeping the building up and they fix the roof and everything. So so it's cool. Saved it. Yeah, there's there's a little nice little byproduct

of the production. It's not not just not just that you're making amazing entertainment, but that you can actually benefit well. And again this gets outside of tech, but we hear it all the time. I mean, there's always the discussion about the benefits of the film and television business moving into any place. When you can hear about stories like that, you're like, that's something that I wouldn't necessarily have thought of, just from the fact that we're getting this influx of

productions coming into Atlanta. For those who do not know, Atlanta is one of the cities in the United States that's really taking off when it comes to film and television and music video production. And you know, there's certain to a certain extent, music video had been fairly big here for a while. Uh Television, some TV productions we're

being were shot in here. But we're seeing more and more film projects as well, largely because of the construction of the Pinewood Studio that's south of the city, and they're especially like just around the area that we're in right now. We're at Pont City Market in Atlanta. Around this general area, you can't you can't go maybe a couple of miles in any direction before you start seeing

signs for various productions, they're everywhere, uh and um. And so we're actually seeing some of that benefit now where we're seeing, you know, communities get potentially get the reuse of buildings that otherwise would have been remaining vacant um. From a similar perspective, although this wasn't from a film production, the building we're in right now was largely vacant for decades. It was a Sears distribution center. Then for a while the city of atlant had about ten percent of this

building and the other was empty. I picked up many police reports and things here. Yeah, and you could get like art supplies, and I used to come here and get art supply. Yeah. Yeah. And to the point where if you were to walk around all the different offices here, first of all, they'd ask you to leave, But if you were to do that, you would probably see a lot of of old equipment, Like we have an old

turbine in our lobby. And it's because every office was given some of the pieces of equipment that had been used when this was a big distribution center for Sears. I mean it was built right on the railroad. They would actually bring railroad cars into this place. So every office has some some element of that worked into it. Uh and uh it's it's again just one of those reminders of the history of the place that for decades went just completely unused. And this was literally just stuff

that was piled up. So I guess it's kind of some lewarer to what you do, Jess, where you have to you have to go into interesting places and just kind of search around. I mean, Uh, there used to be a really great place very close to here that had crazy stuff for lots of antiques and a lot of old fixtures and things, and now it's a restaurant. And I'm always sad when I go by the Wrecking Bar. Yeah, I'm sad that that place is gone because I would

find really interesting stuff there. But that was just for me. I don't I don't decorate sets at all. So what do you think out of maybe not just stranger things, but every anything, any production you've worked on. What was the the most interesting, uh, piece that you have ever found for a production? Well? This, um, the movie I was talking about, theo Wash took place in a tell

Asian station. Um. It was set in nineteen in Sarasota, Florida, and the director, I don't know if he completely understood. He's a little bit of a Savanta and and wanted to have like a full working broadcast studio from that era. They just look but actually literally working, which yeah, exactly, monitors in a control room and cameras and and all of it and all the editing and um and this is all still like film and stuff. Yeah. Um. And

there was this one piece a quadruplex machine. And this is like right when um, news gathering was like going electronic and so a lot of that technology was changing like in the moment. But um, this quadruplex machine that looks like a giant kind of real to real thing. Um that there are not that many of them and there are really not that many of them left now, especially working, which is like you know, and they're so finicky.

There was like a place in the Rhode Island that had some museum and like a couple other places even like in l A what I would call the regular prop houses to ship it out here that they didn't have any so I just um was calling old TV stations, not that anyone has phones or answers their phone anymore. Anywhere. It's like an annoying another annoying landline thing. But um, so I was just driving around. We were filming in Savannah, and I was just driving like on the weekends too,

smaller towns that used to have news stations. Um, just like looking for like that one place that has an attic or a basement that just dashed all the stuff and never threw it away. Um. And there was a guy in in making at a TV station and he was like literally the only guy like manning like reruns of the Simpsons or whatever they're you know, like I

don't even think they did news anymore. Um. But he came to the door and I was asking him about like old equipment, and um He's like, well, we do have this old site out in the swamp that we used to use like as a studio. And I was like, do you think you have a quadruplex machine and he was like, oh yeah, I got that. I got like two of those out there. And I was just like literally, um yeah, that was like the best moment. And so I getting this guy's truck when right out to the

swamp and uh, leaky roof, no power. Um, you know, same thing we always are dealing with UM, but yeah, they're in the corner and like a dry corner was like this quadruplex and a bunch of other stuff that was really useful to have to we were able to kind of tinker and get it to work, and UM that was my That's by far my my like dries possession of all the things I've ever found. Yeah, I

love it. It's uh, sort of the sort of challenges you don't necessarily anticipate until you encounter one of those autour directors who has that that strong dependence upon authenticity.

I'm sick of control panels. That's another Yeah, Like season two is uh yeah, you guys will see when that comes out, But there's a we did a whole control panel in the riff lab this time that we needed to be able to really control rather than getting prop ones, which is kind of what we had the first season and something I was never really that happy with UM.

I had probably the bad idea of UM designing my very own UM control fannel with all these separate like old boat led lights and indicator lights and all these different things that I was trying to get John in like really early last season to help start like figuring out how we were going to empower each one and have each one on a separate control. I was told there would be no flickering season two because I was

a big, big expense for production. And then then the board is a flickering mess of like yeah, like I feel like I feel like a little bit of it has been spoiled for me, but I will. I'll go into it just knowing there may be a flicker or two in season two. I don't know. I haven't seen any of the footage, so I'm not sure. Yeah, maybe that all got cut. I wasn't even or when it happened. Yeah,

that was kind of a nightmare. And um, we've done all kinds of like even season one, um in the quarry, which you would think like that's you know, probably not even that much from a set deck standpoint and there, and there wasn't except they wanted to light some of that scene with search and rescue where they find um Will's body or not real body, but you know, um, they wanted to light that practically, and so we needed

period whacker lights. Um. And just like the logistics of like me me finding the lights that were there, right, government auctions is my other go to UM and so we found something like Tennessee since since transpoke guys up there to go pick them up and bring them back. And then just John assessing that for the first time, is you know this like archaic mess of wires and different things and UM. But he rewired those and they

looked great on camera. It's kind of funny. I I did an interview it's actually going to be the episode that follows this one, uh, with a guy who was hired to to write a full kind of like a workshop manual of the Ghostbusters technology. And he was given full access to all the different props and stuff. But it was his job to figure out not just what the stuff was, but what it used to be and how it actually works in real life and then how was it in in the mythology of Ghostbusters altered so

that it works for that. And he started looking at all the different pieces like just imagine the top of Ecto one, like the top of that car and all the different coutrement that we're on top of it, and he had to source all of that and he says, yeah, they went to a junkyard that outside of a NASA site and they got all of that and I had to figure out what they were And then how does that help you catch ghosts? Is there really a junkyard

outside of nasasite? That sounds amazing? And I'll put you in touch with him because he can tell you where they went to get all the different pieces because they had like various pieces of sonart they had They had an old uh uh. I think it was like an old ground to air missile launch case. There was nothing in it because apparently that would be bad to get

out there. But yeah, so there's Yeah, I'll get you in touch with him because he can certainly tell you more about where they sourced all that stuff because it was it was somewhere out west, I know. But um and keep in mind Ghostbusters were made back in the early eighties, so maybe they've tightened up since then. But

it was pretty it was pretty incredible. Uh And yeah, learning about that like that, that experience of having to uh to to really find out the way sources sometimes is fascinating to me because I hold onto stuff fairly for a fairly long time. But I mean it's just technology is just one of those things that goes obsolete

so quickly. And uh and Also, there's just so many different parts that if any one part fails, the average person is more likely to either go out and buy a new one and just throw the old one away, or just do without, because a repair tends to be about the same amount of money as it would cost to just buy a new one anyway for a lot of the older tech, So I imagine it gets really tricky, especially if they want something that's gonna work on screen,

if it's something that's just going to be like, all right, well we just need this this washer dryer that was back then, but they're never you're going to use it. We just need in the background. I guess that's one thing, but I like, we need a working one. That's a

totally different thing. Yeah, it's uh. This season two has a lot of well, we have the Arcade, which has John and I. Early on we were getting the scripts and stuff with season two talking about like how to get arcade cabinets that were in good enough shape or you know, when we get real ones, and then there's all this Um I don't know if like the average viewer knows, but like playback, Um, it's a thing that

we deal with constantly on Stranger things. It's um the frame rate adjustment and stuff on various like screens and monitors. So your screen that you're you're shooting is refreshing at a certain rate, the camera is going at a certain rate, and if that doesn't match up, probably that's when you start getting those weird lines that start scrolling across the screen, which is realistic, but it's distracting because now you realize you're looking through the lens of a camera as opposed

to being an observer and a scene. So we have to fix that, all right, and so and and even UM season one was similar to the there's various UM security rooms like at Hawkins Lab and we I think I feel like I've bought every Commodore sixty four available because there they tend to be fairly reliable and easy to work with and you can input various things into them.

And UM, so doing something similar, you know, a lot of I think a lot of productions probably would have put like L E. D screens or CB you know, they would have updated with new technology and not dealt with the playback aspect of running through like CRT monitors with whatever we need to show on screen. UM, but we're we try to be as authentic as possible and stranger things, and so there's just a lot of our playback guy was always present. I felt like on every

set it was always like real monitors. Um. Same with the arcade, and we did it all pretty practically, um, leaving a lot of those those old monitors inside the cabinets and then just like running stuff through them and adjusting the frame rate. That's great, I mean again, I just to me, that stuff definitely pays off. Like again, it gives that that feel that you want and uh, that that sense that you're watching something that was made

years ago, um and yet with a modern sensibility. So it's anyone who grew up around the same time I did, I think, just has that deep connection when they see this there, you know, because it feels very buil Burgie in in many ways. You know, it's just it's very evocative of those uh, those great films and TV series in the eighties. So you guys did a phenomenal work to recapture that and to make it feel like it was on screen. It looks effortless. I know that that's

exactly the opposite of what it really was. It was very, very full of effort, but from an audience perspective, um, it just it just works so well. So I'm really looking forward to season two. We keep hearing rumors about how many seasons they are going to be. I think there need to be as many seasons as there need to be to tell a story and then we can we can close the chapter on that book and want more. I'm happy with that. We'll see because who knows what

what will happen down the line. But I am so really excited to see season two and beyond. And if you if you put a word in for they need a bald guy as an extra, you know, even if he's just screw in a light bulb in the background. I'm local, I'm right here, I know, I know Randy. So Randy and I go way back. I can. It's just throwing it out there. Maybe Randy needs an assistant, yeah, who knows, or maybe just like a guy to like deal with all the insanely attractive women that he's dating.

It's phenomenal. Really, It's like we had a discussion with him about that. Like that was to me, like everything was believable up until they showed you. Like I was buying into it, right into that, and he's like, thanks Jonathan, thanks a lot, You're welcome, Randy, very good guy. Thank you Jess and John for joining me on this show. I really appreciate the opportunity to explore what it is you do and get a deeper appreciation for the work

that goes on behind the scenes. And uh, this was phenomenal. I wish you guys the best of luck and success in the future, and maybe we'll have you on again at some point. We'll talk about some other crazy stuff like you know, let me tell you what now is the hardest props I've ever had to find. You never know when that story is gonna change. Well, thank you guys again, Thank you. I hope you guys enjoyed that

episode of text Stuff. We've got a lot more coming and let me know what you guys think if there are things you would like me to cover as we go through all this. I've got a big series about the PlayStation coming up soon. But if there are any other topics you would like me to cover, reach out on Facebook or Twitter. The handle for both is tech Stuff HSW and I'll talk to you again really soon.

Text Stuff is an I heart radio production. For more podcasts from My heart Radio, visit the I heart Radio app, Apple podcasts, or wherever you listen to your favorite shows.