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It was really the entertainment and the stimulus to my imagination, that, that I fell in love with all kinds of movies from westerns to aviation pictures, to Swashbucklers with Errol Flynn.

So that was being in the right place at the right time and ready with some understanding of, of the craft and what I wanted to do well, like Craig, I grew up with a love for movies. And then I had the opportunity to start working for George Lucas's industrial light magic for the empire strikes back when he moved from Los Angeles up into the Bay area. Speaker 3: 03:23 I wrote to, with a co-author Mark Foz back in 2001, but, uh, it was, uh, just kind of a long life on love of it.

I started sort of doing interviews, taking notes and, and then, uh, eventually that led to a book on matte painting. I would see, you know, some of their artifacts, some of their photographs that they'd worked on, things that they were proud of. And quite often there was, you know, so you could still sort of call people up who had retired and, um, uh, they would invite me over. And then when I was in Los Angeles, I would see if there was a phone number and an address. And I would, um, you know, notice somebody's name, often write it down. And I started to look them up and, and back at the time, um, my, uh, I had relatives living in Los Angeles, so we would go visit them during the summer. Speaker 3: 02:31 Yeah, so I do visual effects and started by actually watching classic movies and seeing the, uh, special effects by name on the credits. So Craig give a little background on yourself and what got you interested in doing effects yourself? Speaker 2: 02:17 Both of you are wildly talented effects artists in your own, right. You know, where, where it was, their kind of quaint, you know, they're kind of silly sometimes, but we love it. It's a really interesting kind of capture of state-of-the-art technology for the 1950s. And so the idea was can we capitalize on the interest of the public halves with Jetson aviation and tailor a story around Bogart? So he becomes kind of Chuck Yeager test pilot is kind of the original rights stuff from the standpoint of visual effects. Uh, Chuck Yeager had just broken the sound barrier. And it, it is kind of the last sort of big production from Warner brothers trying to create a genre about aviation. So it's not considered one of the, the classic classics, although it is interesting in that it was the last film that Bogart made at Warner brothers before he became an independent, uh, actor for hire. So we looked into the story behind the making of that film, correct? It's not a perfect film. So chain lightening, it's not a well-known film, but it was a film which we had a fondness for and it introduced some technology uses of sound and visual effects, which intrigued us. Speaker 3: 00:49 Craig and I have a special fondness for aviation films because aviation and cinema have been paired up with each other for well over a century since they both began. So Ben, why don't you start by telling me what was it about this film that appealed to you and made you want to do a special presentation? So this year you have picked a film that I actually have not seen called chain lightning. Speaker 2: 00:23 So I have to confess to you guys that your presentations at the TCM film festivals are always the highlight for me.

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Speaker 1: 00:00 TCM film festival kicks off four days of films and programming tonight on both the Turner classic movies channel and HBO max KPBS, film critic, Beth Armando Amando interviews, Oscar winners, Ben Burt, and Craig Barron about their panel, where they do some movie archeology to uncover the secrets of old movie magic.

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