Kay Steve Intro

Oh, what the fuck? Of course it won't do it for me. Little whore. I'm not, I don't, apparently I don't work well with these. Push your red button, lower button. Recording? Okay, it says they're both recording. I'm just going to connect you so you can see those little red dots, okay? Eddie needs to go in the bedroom if that's okay. Did you find out how to turn the lights off? I turned the lights off on mine. You turn it off on the receiver. I'll just keep this by me. And we'll make sure the Zoom's recording. Hi, dude. Eddie. I only dropped a little bit of popcorn, there's no more. You want me to take him? He found a piece of popcorn. That was I dropped. He's very pleased. He's like, there's more. I'm taunting your dog with food. Thank you. This is the art Zoom? Did we get him saying, I'm going to say it one more time, go to sleep? Yeah. It says we're both recording. I'm going to turn off the camera. The shirt. I'm going to send my notes to myself. The settings are right on this for the Zoom? Yep. Which source? Oh, it's one and two. How does it feel like that Michael Myers head should be there? I like it. I like when people on YouTube accumulate their props over time. If people give them shit or they get unboxings, they'll just do that. I want to start whenever we wear a shirt from somebody or whatever, tagging. I know there's ways to do it. Discount Cemetery would work with us to do stuff. People when they do get free shit and boxes and promo. They love you and he sees me as Paisana. Who's Paisana? He's an East Coast Italian guy. They screen print out of their home so they don't have to worry about shipping and stuff. They do everything themselves. It's my makeup. My face feels super puffy. I'm doing a shot. That was very stressful. I mean, I am. Okay. Alyssa, mine is behind. I think my shot glass. Oh, then maybe that's what I did. Here's two. I mean, we definitely need to adjust the gain because I think the mics are peaking. Scratchy clipping. I did see that you can turn down the gain in the thing, but these sound so quiet. My computer is also really quiet. Oh, I think this is Emma's because you put weird shit in it. Ha ha ha ha ha ha. Ha ha. Ha ha ha. I saw it on there when we were flipping through the I saw it when we were flipping through in the transmitter settings. I think it said receiver gain. You're doing this dry, girl. Yeah, it should be okay. Let me just pull it. Transmitter settings. I accidentally touched something in the settings. Talk louder. Hello. Hello. It's not clipping and it's something I can pump up in post. I just put it on my bra. How do I get back to the main screen? You just swipe. Ha ha ha. I'm talking so much. I'm talking. Can you look at mine? It's on the ground right behind Ghostface. How do I plug the headphones in? I normally talk like this. I'm normally pretty loud in general. As long as it's not clipping. I'm just going to go in this other room. Or should I adjust it so it's lower? Maybe a little bit lower. I just didn't want it right next to a zipper. Okay, I'm going to go in the other room. If I talk like this and I talk pretty normal. All right. I can always turn it up from there. If it sounds weird, then it's because I need to learn my speech better. I think it should be okay. It's hard because I hear three different voices so it's hard to tell what Yeah. Sorry. Everything is rolling, rolling, rolling. For the way this angle is, do I need to be laying down again? No, I pushed it back. I think the first angle where I was sitting up because you originally had it for me low, it looks like it's shooting up my nose. I can try to lift it a little. Let's see. All right. Fuck sound. Who fucks for life? Who fucks? Socks. Someone was like, oh, I saw socks. I thought I knew it saw and I was like, socks? And they were like, no, saw. And I was like, you're not fun. Are the shots going to be edited? I thought shots were our Patreon. That'd be so funny. Or it's like in the middle, like for the commercial break, just go to the shot. Commercial break? Yeah. Okay, everything's plugged in. Your face is so damn pretty. I thought she was just about to say your face is so damn pretty. I thought she was like, fine. Rolling, rolling. Rolling. 1126. Rolling here. Is that rolling? Rolling. Check this is rolling. The cameras are rolling. You can't see this if I pull it forward a little bit, right? No, I don't see how you can see that. It's 1126, so let's not go too deep with this. I just really only have like two things. Do the phone call shit first. Can you pull up the files? Can you do that? The actual thing. Yep. You gotta download it and unzip it. Download it anyway. Maybe we should just do the talking part then. This is going to take a minute. We have to unzip a file. It depends on how big the file is. One minute to download it, but then you have to unzip it. I don't know how long it'll take. Yeah, let's do the phone call. Where's the phone? Okay, so what are we doing? We're just like talking or eating popcorn or some shit? Okay, we'll just be playing with stuff. Here, I'm just going to make my phone ring, ring, ring, ring. No. No. I have a friend in Maine who's very good at electronics and I want to get him to see if he can light that shit up for us. We're going to flip this around. Let's try that again. You're so cute. Hello? Hey guys. Okay, guess who I have on the phone? All right, we have snagged none other than the godfather of 2000s horror, visual effects I feel like my energy is totally off. We've snagged none other than the godfather of 2000s horror, visual effects legend Oh, it's on such. Yeah, sorry. I think it was the wording. We've snagged none other than the godfather of 2000s horror, a visual effects legend working on such movies as James Cameron's Abyss, Indiana Jones and the Last Crusade. That's the same movie. Indiana Jones and the Last Crusade. He's designed theme park attractions, created Super Bowl ad campaigns for some of the biggest companies in the world and directed one of the most iconic openings in all of horror history with his movie Ghost Ship and he joins us tonight to talk about his masterpiece, 13 Ghosts. Welcome, Eve Beck. We've snagged none other than the godfather of 2000s horror. He's a visual effects legend working on movies such as James Cameron's Abyss and Indiana Jones and the Last Crusade. He designed theme park attractions I'm just going to say I do them in separate sentences. The whole thing? Boom, boom, boom, over here say way up. Yeah, let's pretend we're looking through this. I do want to see that. Hello? Hey guys. Okay, we've snagged none other than the godfather of 2000s horror. He's a visual effects legend working on such movies as James Cameron's Abyss and Indiana Jones and the Last Crusade. He's also designed theme park attractions, he's created Super Bowl ads for some of the biggest companies in the world and he directed basically one of the most iconic movies in horror openings. James Cameron's Abyss. Did I say it wrong? They did a TV show where he was a character and they called him James Cameron. Is he your boyfriend Bobby? Don't use that, that was actually my high school boyfriend. Fucking weird dude. Is it? What? Well Bobby was the kid in the movie too so maybe that's why the name was in your thing but at the same time let's not say this out loud. Don't say that out loud. Summon that fucker. Boom boom boom boom I want you in my room Instead of doing the clap we just go AYO It's all recording right? We're clapping now bitches. The boy next door. I know she's so pretty. Hello? Oh my god guys do you know who this is? No? Okay we have snagged none other than the godfather of 2000s horror. The visual effects supervisor Okay we're going to keep going though fuck it. He's a visual effects legend who worked on James Cameron's Abyss and Indiana Jones and the Last Crusade. He's directed super bowl ads for some of the biggest countries in the world He's directed super bowl ads for some of the biggest companies in the world and he's created theme parks. He also directed one of basically the most iconic openings in horror history with Ghost Ship and he's here to talk to us tonight about 2000s cult classic 13 Ghosts. Welcome Steve Beck You want to do it one more time? Does that work with me being like guess who this is y'all? Guess who this is? Alright let's Can I just say not say welcome? Hey Steve Beck I've been doing both This is the take This is the one That's our clap Hello Oh my god Okay we've We're talking to none other than the Do the neighbor rivet line again Is it neighbor rivet? Okay look we have on the phone none other than the godfather of 2000s horror Oh cool He was a visual effects legend He is a visual effects legend who worked on James Cameron's Abyss and Indiana Jones and the Last Crusade Okay he's designed like theme parks and he directed like Super Bowl ads for some of the biggest companies in the world. What? Alright you'll get it now He created basically one of the most iconic horror openings in horror history with Ghost Ship. Shut up. Yup We are going to chat with the director of Yup we are talking to the director of 2013 Ghosts. Hey Steve Beck We're going to do it one more time Hey Steve Beck Oh my god hey Are you saying that I am not a fucking nerd? I know I thought about it I almost like got a black cake today that said Steve Becky rule Shut up Oh my god We're not clapping? You can actually clap Ayo One more time Do you want to like fight me for the phone a little? Do I answer it? Do I answer it? I did something wrong I want to say Old Man Rivet Old Man Rivet Old Man Rivet What? Old Man Rivet is a sleep song from Show Boat. I know it's from Show Boat Oh my god Identity the ending Why would Hello Shut up You're in trouble Shut up The Godfather of 2000's Horror What? A visual effects legend who worked on James Cameron's Abyss and Indiana Jones and the Last Crusade That's cool but warmer He's designed theme parks and he's He's directed supervillains for like the biggest companies in the world Oh my god okay well how about the fact that he created basically one of the most iconic horror openings in horror history Shut up no way We're chatting with the director of 2000's cult classic 13 Ghosts Stop it Hey Is it 2001? No we're doing It's the 2000's but it is 2001. Last time we're just going to do it a lot faster That was really good We're just going to do it faster I don't think But it's so loud No no no no Hello Okay okay He's on the phone Shut up What the? On the phone The Godfather of 2000's Horror Okay He's a visual effects legend who worked on James Cameron's Abyss and Indiana Jones and the Last Crusade He's created theme parks and he's directed supervillains for like the biggest companies in the world He He created one of the most iconic movie openings in horror history Stop it On the phone is the director of 2001's cult classic 13 Ghosts Hey Steve's back Alright good So now we have to sit here with a phone up to our hands It's fine because we'll pap it It's fine you have to but you have to But we'll have to master Um Oh good It is a video Oh Oh my Oh my Lampa Oh Fuck Ryan Ryan What source Oh we need to figure it out anyway What source is the It might be asleep Where's the Roku remote It's kind of been being a bitch lately Can you turn that off How long is it Is your tattoo Uh yeah It's uh It's a golden rule It should turn on it should be turning on now I know I need to cover the Santerra tattoo Because Santerra is a racist piece of shit man Is it time to get there Well maybe while we wait for this to turn on let's just play I didn't realize it was recording me I mean it might go to his It would be so funny if I could see his picture but then it shows up here There it is How are you Steve I'm good Well that's great Tell me about your directorial debut I don't know how to Do you do a lot of talking Yeah it was really exciting It was my first time I didn't realize it was recording me It's a good thing it happened You know how it is when you're a behind the camera person It's nerve wracking and exciting at the same time And then it's over I don't think the Roku is working How long did it take you to develop and get it done I don't know It doesn't have a marker so I don't know how long Just fast forward and check and we'll see Oh my god stop asking questions Steve I know the feeling I was a commercial director Back in the days when they were Around you In different genres throughout the studio I figured I had my time It was fun it was enjoyable It was definitely unique It never was I'll save that for the questions I've got here I've got a whole lot of stuff but I'll try to be quick And I appreciate your time Before we jump into Bursting Ghost I've got to ask about your work with Industrial Life and Magic You've got some really amazing credits Like working on Indiana Jones the Abyss Can you tell us what you did on those movies I had two responsibilities The first one was