122 - "Her Name Was Moviola" - With Director Howard Berry

The Filmumentaries Podcast

Filmumentaries Linktree
Her Name Was Moviola
The Elstree Project

35:24

Let’s talk about adulting— actual adulting. Not just paying bills or keeping a houseplant alive, but the kind that involves emotional maturity, healthy boundaries, and conscious self-leadership. Because let’s be honest, most of us weren’t taught how to be fully functioning adults… and it shows. Joining us is Michelle Chalfant , licensed therapist turned holistic life coach, creator of The Adult Chair® model, and author of the new book The Adult Chair: Get Unstuck, Claim Your Power, and Transform Your Life . With millions reached through her podcast, coaching programs, and retreats, she’s here to walk us through the five pillars of being a healthy, grounded adult. Here’s the truth: being an adult isn’t about checking boxes or pretending you’re fine. It’s about owning your truth. Feeling your feelings. Practicing compassion without letting yourself off the hook. It’s about setting firm boundaries—with no need for justification—and recognizing that your triggers are not flaws, they’re clues. None of us were handed a guidebook for how to grow up emotionally. We inherited patterns from people who were figuring it out as they went. But what Michelle shares today is empowering: it’s never too late to unlearn what no longer serves you and become the adult you were meant to be. Whether you’re starting this work or knee-deep in your personal development era, this episode will meet you where you are—and help you move forward with clarity, self-trust, and strength. Connect with Michelle: Website: https://theadultchair.com/ Book: https://theadultchair.com/book IG: https://www.instagram.com/themichellechalfant/?hl=en FB: https://www.facebook.com/@TheMichelleChalfant/ YouTube: https://www.youtube.com/c/michellechalfant Related Podcast Episodes: How To Build Emotionally Mature Leaders with Dr. Christie Smith | 272 Boundaries vs. Ultimatums with Jan & Jillian Yuhas | 297 Gentleness: Cultivating Compassion for Yourself and Others with Courtney Carver | 282 Share the Love: If you found this episode insightful, please share it with a friend, tag us on social media, and leave a review on your favorite podcast platform! 🔗 Subscribe & Review: Apple Podcasts | Spotify | Amazon Music Learn more about your ad choices. Visit megaphone.fm/adchoices…

about a year ago 1:10:28

MP3•Episode home

The project began as an oral history of Elstree Studios.
Howard's connections in the film industry were crucial to the project's development.
Walter Murch's involvement was pivotal in shaping the film's direction.
The film aims to document the process of editing, not just the final product.
Acquiring vintage equipment like the movieola was a significant challenge.
Howard's persistence in networking led to valuable collaborations.
Mike Leigh's willingness to share footage was a turning point for the project.
The technical aspects of editing are often overlooked but are essential to the craft.
The film serves as a tribute to the art of film editing.
Howard's journey reflects the importance of community and support in filmmaking. Howard emphasizes the importance of preserving historical stories in film.
The documentary was always intended to focus on the technical and psychological aspects of editing.
Walter Murch's preference for a nuts-and-bolts approach shaped the film's direction.
The relationship between a director and editor can be tense yet collaborative.
Critiques from directors can enhance the editing process and lead to better outcomes.
Editing a film about editing presents unique challenges and pressures.
Trust between filmmakers is crucial for a successful project.
The film has received positive feedback from audiences and critics alike.
Festival screenings have provided valuable exposure and audience engagement.
Future distribution plans aim to reach a wider audience through streaming services.

133 episodes

#Cinema #Jamie Benning #Filmmaking #Film History #Star Wars #Lucas #Spielberg #Scott #Sc-fi

122 - "Her Name Was Moviola" - With Director Howard Berry

The Filmumentaries Podcast

published about a year ago

MP3•Episode home

The project began as an oral history of Elstree Studios.
Howard's connections in the film industry were crucial to the project's development.
Walter Murch's involvement was pivotal in shaping the film's direction.
The film aims to document the process of editing, not just the final product.
Acquiring vintage equipment like the movieola was a significant challenge.
Howard's persistence in networking led to valuable collaborations.
Mike Leigh's willingness to share footage was a turning point for the project.
The technical aspects of editing are often overlooked but are essential to the craft.
The film serves as a tribute to the art of film editing.
Howard's journey reflects the importance of community and support in filmmaking. Howard emphasizes the importance of preserving historical stories in film.
The documentary was always intended to focus on the technical and psychological aspects of editing.
Walter Murch's preference for a nuts-and-bolts approach shaped the film's direction.
The relationship between a director and editor can be tense yet collaborative.
Critiques from directors can enhance the editing process and lead to better outcomes.
Editing a film about editing presents unique challenges and pressures.
Trust between filmmakers is crucial for a successful project.
The film has received positive feedback from audiences and critics alike.
Festival screenings have provided valuable exposure and audience engagement.
Future distribution plans aim to reach a wider audience through streaming services.

Filmumentaries Linktree
Her Name Was Moviola
The Elstree Project

133 episodes

#Cinema #Jamie Benning #Filmmaking #Film History #Star Wars #Lucas #Spielberg #Scott #Sc-fi

All episodes

The Filmumentaries Podcast

1
128 - Anthony Forrest - Star Wars Actor 42:44

7 days ago42:44

42:44

In this special archival episode, I speak with actor and musician Anthony Forrest, best known to Star Wars fans for playing the sandtrooper who famously waved Obi-Wan and Luke past an Imperial checkpoint with the words: “These aren’t the droids we’re looking for.” Originally recorded over a decade ago, this conversation explores Forrest’s original casting as “Fixer” in the cut Tosche Station scenes, his time filming in Tunisia, and how George Lucas unexpectedly tapped him to suit up as a trooper. Anthony also reflects on working alongside Alec Guinness, the skepticism among the British crew, and the surreal experience of flying home with champagne and Star Wars stickers courtesy of Sir Alec himself. Beyond Star Wars, we also discuss Anthony’s career in music, his time busking in the London Underground, and his low-budget feature The Ballad of Bob’s Garage. Listen in for rarely heard stories from behind the mask. Mentioned in this episode: Deleted scenes from A New Hope Filming in Tunisia and London Busking and recording in the London Underground Alec Guinness and the 2007 Academy screening The Ballad of Bob’s Garage project GoFundMe for our Martha’s Vineyard shoot — any support is greatly appreciated! All my links…

The Filmumentaries Podcast

1
BONUS - Director Paul King on Beneath London - The Story of Alien War 27:56

13 days ago27:56

27:56

In this bonus episode of The Filmumentaries Podcast, I catch up with returning guest Paul King, who you might remember from our previous conversation about his Shining locations documentary, Shine On. This time, Paul’s back with another nostalgic deep-dive — his new short documentary Beneath London: The Story of Alien War. We talk about the origins of the Alien-themed walkthrough experience that terrified visitors to London’s Trocadero in the early 1990s, how Paul tracked down rare archive footage and the people who made it happen, and why he thinks this story still has the potential to grow into a feature-length film. Watch Paul’s documentary on YouTube: Beneath London: The Story of Alien War In the episode, we cover: What Alien War was and how it came together The strange story of how the creators got official backing from 20th Century Fox How the experience pushed boundaries long before immersive cinema became a thing Paul’s process of turning archival material and interviews into a compelling short film I also share an update on my own documentary, Not Your Average Joe, about legendary Jaws production designer Joe Alves. I’m heading to Martha’s Vineyard this June to film key interviews during the 50th anniversary celebrations — a rare and important opportunity to capture these stories on location. If you’d like to support that project, you can find the GoFundMe here: https://gofund.me/13795716 Thanks for listening. More behind-the-scenes conversations coming soon.…

The Filmumentaries Podcast

1
127 – Max Evry on A Masterpiece in Disarray: David Lynch’s Dune – An Oral History. 1:05:21

21 days ago1:05:21

1:05:21

-------------------------------------------------- Our Joe Alves GoFundMe Campaign -------------------------------------------------- Episode 129 – Max Evry on A Masterpiece in Disarray: David Lynch’s Dune – An Oral History. In this episode, I speak with film journalist and author Max Evry about his brilliant and in-depth book A Masterpiece in Disarray: David Lynch’s Dune – An Oral History. What began as a 150-page entry in a cult film series soon grew into a 560-page epic — much like the film it covers. Max and I talk about the origins of the project, how he managed to get David Lynch himself to take part, and why the oral history format was the right approach for telling this complex story. We also chat about the book’s structure, Max’s archive work, and how his own experiences as a filmmaker gave him a deeper empathy for the challenges Lynch faced. There’s even a fascinating discussion about Max’s restoration of a long-lost scene featuring Molly Wryn — which you can now watch here : You can find Max’s book here. If you enjoy these behind-the-scenes deep dives, please consider supporting the podcast or sharing it with a film-loving friend - patreon.com/jamiebenning -------------------------------------------------- Our Joe Alves GoFundMe Campaign --------------------------------------------------…

The Filmumentaries Podcast

1
126 - Inside the BFI National Archives - Film on Film Festival - Special Episode 1:39:43

6 weeks ago1:39:43

1:39:43

Episode 126 - Inside the BFI National Archives - Film on Film Festival - Special Episode For this early release of the podcast, I’m taking you behind the scenes at the BFI National Archive in Berkhamsted. The reason for the early drop? Tickets for the BFI’s excellent Film on Film Festival go on sale to the public tomorrow, 9th May 2025, and I wanted to give you a bit of insight into what makes this event so special. The Film on Film Festival runs from the 12th to the 15th of June and is dedicated entirely to screenings on physical film – from 35mm to 16mm, and even nitrate. It’s a rare opportunity to experience films as they were originally shown, in all their analogue glory. While at the archive, I spoke with several of the experts who help make the festival possible and who work daily to preserve the history of cinema. You’ll hear from: James Bell – Senior Curator of Fiction and Programme Director, Film on Film Festival Chris Stenner – Film Laboratory Lead Sonia Genaitay – Curatorial Archivist Martin Coffill – Projectionist and QC David Jones – Film Scanning Lead A huge thanks to Kieron Webb and Sarah Bemand for organising the day. It was a real privilege to explore the archive, meet the people who keep the machines running and the prints in circulation, and to share it all with you here. If you're attending the festival on the 12th, please do let me know and be sure to say "hi". BFI Film on Film All my links…

The Filmumentaries Podcast

1
125 - "Suddenly Something Clicked" - With Walter Murch 1:27:25

8 weeks ago1:27:25

1:27:25

Episode 125 – Walter Murch: Suddenly Something Clicked (And 5 Years of Filmumentaries!) In this special 125th episode of The Filmumentaries Podcast, I’m joined once again by the legendary Walter Murch — editor, sound designer, director, author, and true philosopher of cinema. This also happens to mark five years since I launched the podcast, so it felt only fitting to celebrate with someone whose insights have shaped not only cinema itself but how we understand it. Walter and I discuss his new book, Suddenly Something Clicked, which is due for release on 8th May 2025 via Faber & Faber (thank you to them for kindly sending me a preview copy). The book is a rich mix of theory, practice, and history — true to Walter’s description of it as a “twisted rope” of ideas. We cover everything from the evolution of editing, cinema as a biological and neurological phenomenon, the mysteries of sound design, and even the mechanics of live television editing. Walter reflects on the analog vs digital shift, why sound should be metaphorical as well as realistic, and how editing mirrors the way our own bodies process time and perception. We also get into Return to Oz, AI in filmmaking, and his thoughts on films like Adolescence and 1917 that attempt to eliminate the cut entirely. As ever, it’s a joy to speak with Walter — and I hope you enjoy this episode as much as I did recording it. All my links Suddenly Something Clicked Original 1977 Star Wars Screening…

The Filmumentaries Podcast

1
BONUS - Star Wars Celebration Japan - Day 3 Report from Rachel Pearson 11:46

8 weeks ago11:46

11:46

Hi all, Here's Rachel's second and final report from Star Wars Celebration Japan. We hope you enjoy it!

The Filmumentaries Podcast

1
BONUS - Star Wars Celebration Japan - Day 1 and 2 Report from Rachel Pearson 14:18

8 weeks ago14:18

14:18

As promised, here's report of the goings on in Tokyo at Star Wars Celebration, day one and two from Rachel Pearson. More tomorrow.

The Filmumentaries Podcast

1
BONUS EPISODE - Vickie Sampson on those stolen Return of the Jedi Tapes 11:51

8 weeks ago11:51

11:51

In my previous episode I spoke with ADR specialist and dialoge editor Vickie Sampson. In that conversation she mentioned briefly about the time the Return of the Jedi audio recordings were stolen from her car. "That's a story for a whole other podcast", she remarked. So I contacted Vickie to ask her if she could record the story. She kindly obliged, and so here it is as a short Bonus episode for you folks!…

The Filmumentaries Podcast

1
124 - Push the Button - The Curious Career of Jeff Okun 1:27:01

10 weeks ago1:27:01

1:27:01

Episode 124 Like many visual effects artists of a certain vintage, Jeff Okun didn’t plan on a career in VFX. In fact, by his own account, he didn't even plan to work in film at all. "I’m a completely accidental human being," he told me with a chuckle. His ambitions began on a very different stage — as a stand-up comic — until a sharply atheistic routine delivered at home earned him a lifetime ban from performing in front of his parents. Instead, Okun’s creative outlet took the form of magic tricks, homemade stunts, and Super 8 visual gags. “I would blow up model ships and fake fights in rush hour traffic,” he said, “and I’d be in the bushes filming with ketchup for blood.” All of this childhood chicanery ultimately gave way to a fascination with the trickery of movies — the kind of illusions you could only pull off with careful camera work, sleight-of-hand editing, and an appetite for mischief. Learning the Craft the Hard Way Okun's first job in film was with the legendary graphic designer and filmmaker Saul Bass. The experience was, in Okun's words, “awful,” but also profoundly formative. As Bass’s gopher-turned-editor, Okun was thrown into the deep end. “I hated him,” he laughed. “But he taught me everything: editing, sound, post-production supervision, how to shoot, how to frame. It was a masterclass.” Working for Bass meant operating in a visually precise, effects-heavy style — layering camera moves, creating in-camera effects, and often relying on labor-intensive optical printing processes. When optical houses turned down Bass’s business — too exacting, too expensive — Okun stepped in with cost-saving workarounds and pricing schemes that actually worked. “We doubled the budget, added a contingency, and somehow still landed exactly on target.” “By the end of it, I ended up loving the man,” Okun said. “Not because he gave me a break, but because he was so specific and difficult to please that when you did please him, it meant something. He learned how to prep lineup sheets, how to composite with interpositives, and how to break down 140-layer optical shots into manageable components. “I was just the fix-it guy. I didn't know what I was doing half the time. I still don't.” VFX by Way of Accident It wasn’t long before optical houses and producers began calling on Okun when their films were in trouble. One fix led to another. His reputation grew as someone who could step into a crisis and calmly solve it — usually with a combination of ingenuity, humour, and brute-force trial and error. “I think Saul trained me to see puzzles. That’s what it comes down to — seeing what’s broken and putting it together in a way that works. Most of the time, it wasn’t about having the right answer. It was about trying 50 wrong ones.” This kind of lateral thinking came into its own on films like Stargate (1994), where Okun — working with Jeff Kleiser and Diana Walczak’s fledgling CG company — had to convince director Roland Emmerich that computer graphics were even worth attempting. “Roland didn’t believe in CG. So we built the shot, made the CG glider deliberately less detailed to match the miniature footage. Showed it to him. He said, ‘Exactly — that’s what I’m talking about. Miniatures are the way to go.’ And we said, ‘Nope. All CG.’ That’s when he finally came around.” (Fun fact, VFX supervisor Jeff Okun was paid homage by Brent Spiner in Independence Day in the role of Dr. Brackish Okun. There’s uh, a slight resemblance.) - Credit to Nofilmschool.com Penguins, Moose, and the Invisible Effect Okun is quick to point out he wasn’t a Star Wars kid. In fact, he avoided the original film for weeks on principle — he doesn’t do queues. But he did get a behind-the-scenes tour of ILM’s original Van Nuys facility courtesy of Bass and George Lucas. There, he saw motion control rigs, Richard Edlund on his knees filming the crawl, Phil Tippett animating the chess game, and pyro tests in the parking lot. It was, he admits, a little magical — though it didn’t change the fact that his creative allegiance remained with illusion, not spectacle. “My favourite effects are the invisible ones. I started out as a magician. The goal is to make people believe there’s no trick. That’s where the real artistry is.” Still, that didn’t stop him from sneaking penguins and moose into the background of multiple films. He once gave a horse antlers in a Cameron Crowe movie. In Blood Diamond , he added a huge penguin family to a wide evacuation shot — no one noticed. “It’s like the gorilla basketball video. You just don’t see what you’re not looking for.” The Shark That Ate Sam Perhaps his most famous — or infamous — contribution to pop culture came on Deep Blue Sea . Samuel L. Jackson had just delivered a particularly rough eight-page monologue, and Okun, unimpressed with the script, asked Jackson what he wanted to do. “He just said, ‘Kill me.’ So I said, ‘If you make it to the front of the moon pool, I’ll kill you.’” The surprise shark attack that interrupts Jackson mid-speech is now legendary. It wasn’t in the script. “Renny Harlin didn’t know until the day,” Okun said. “Sam did take after take but always got to the kill spot early. We cut the rest. I shot the elements. It was a massacre. We even had baby sharks pull him apart for fun.” The Changing Landscape Much of our conversation revolved around the changing realities of visual effects — the rise of AI, the complications of LED walls, and the shifting expectations from directors and studios. “People think VFX is just hitting the ‘do it right’ button and then the ‘do it fast’ button,” he said. “There’s so little appreciation for how hard this stuff is, and we’ve done ourselves no favours by making it all invisible.” He sees today’s VFX artists as increasingly anonymous — a shift he’s spent much of his career trying to reverse, both through his own visibility and via his tenure at the Visual Effects Society. “We don’t sell our artistry. We sell our software. You know the names of the DPs, but no one can name last year’s VFX Oscar winners. That’s not sustainable.” The Invisible War Stories At the end of our chat, Okun expressed a desire to tell more of the “true” stories of VFX — the screw-ups, the late-night fixes, the shots that weren’t supposed to work. He wants more people to know that the chaos behind the curtain is often where the real creative breakthroughs happen. “It’s always fun. That’s the only reason I still do it. And when it’s collaborative, when it’s people bouncing ideas off each other, it’s magical. That’s when everyone forgets the pain and just remembers the movie.” All the Filmumentaries Links…

The Filmumentaries Podcast

1
123 - The Art of Dialogue Editing - With Vickie Sampson 1:12:33

12 weeks ago1:12:33

1:12:33

Episode 123: Vickie Sampson – Dialogue, Detail, and the Art of Sound In this episode of The Filmumentaries Podcast, I speak with sound editor, dialogue and ADR supervisor, and filmmaker Vickie Sampson. Vickie’s career began in the early 1970s, and she’s since built up a mighty list of credits including Romancing the Stone, The River, Tank Girl, The Fifth Element, Ordinary People, and Return of the Jedi. She’s also the daughter of the trailblazing Kay Rose – the first woman to win an Oscar for sound editing. We discuss: Growing up surrounded by film and sound Her hands-on experiences on shows like The Big Valley and The Rifleman The vital but often misunderstood role of dialogue and ADR editing What makes a great production sound handover (and how so many indies get it wrong!) ‘Temp love’ and the challenges of directors getting attached to scratch tracks Working with actors like Keanu Reeves, Meryl Streep and Sigourney Weaver Her time in London supervising ADR for Return of the Jedi – including a story about the reels being stolen from her car Why clean dialogue is the bedrock of a good film Her continued work as a director and teacher This one’s packed with stories, insights, and practical advice for anyone working in – or just obsessed with – film sound. 🎧 Listen now wherever you get your podcasts. 🔗 Mentioned in this episode: Skywalking Through Neverland Podcast – Episode 72 – More on Vickie’s Jedi reels story Simon Hayes' article on the sound of Wicked “A Letter from Your Sound Department” (available upon request or via Vickie’s site) Support the podcast: Grab some merch: filmumentaries.creator-spring.com Or support on Patreon for just $1 a month: patreon.com/jamiebenning Follow me on social media: @filmumentaries on Threads, Instagram and Facebook Filmumentaries Linktree…

The Filmumentaries Podcast

1
122 - "Her Name Was Moviola" - With Director Howard Berry 1:10:28

14 weeks ago1:10:28

1:10:28

In this conversation, I speak with Howard Berry about his film project 'Her Name Was Moviola', which explores the art of film editing through the lens of a a traditional editing setup. Howard shares the origins of the project, his connections with notable filmmakers like Walter Murch and Mike Leigh, who are both involved in the projet. And the challenges he faced in acquiring the necessary equipment for the film. The chat highlights the technical aspects of film editing and the collaborative nature of filmmaking. We look at the intricacies of documentary filmmaking, particularly focusing on the editing process and the relationship between directors and editors. Howard shares insights into his experience editing a film about editing, the challenges faced during production, and the importance of preserving cinematic stories. We also touch on the film's reception at various festivals and the future distribution plans. The project began as an oral history of Elstree Studios. Howard's connections in the film industry were crucial to the project's development. Walter Murch's involvement was pivotal in shaping the film's direction. The film aims to document the process of editing, not just the final product. Acquiring vintage equipment like the movieola was a significant challenge. Howard's persistence in networking led to valuable collaborations. Mike Leigh's willingness to share footage was a turning point for the project. The technical aspects of editing are often overlooked but are essential to the craft. The film serves as a tribute to the art of film editing. Howard's journey reflects the importance of community and support in filmmaking. Howard emphasizes the importance of preserving historical stories in film. The documentary was always intended to focus on the technical and psychological aspects of editing. Walter Murch's preference for a nuts-and-bolts approach shaped the film's direction. The relationship between a director and editor can be tense yet collaborative. Critiques from directors can enhance the editing process and lead to better outcomes. Editing a film about editing presents unique challenges and pressures. Trust between filmmakers is crucial for a successful project. The film has received positive feedback from audiences and critics alike. Festival screenings have provided valuable exposure and audience engagement. Future distribution plans aim to reach a wider audience through streaming services. Filmumentaries Linktree Her Name Was Moviola The Elstree Project…

The Filmumentaries Podcast

1
121 - Marketing Hollywood's Hits and Flops with Jim Fredrick 1:17:28

16 weeks ago1:17:28

1:17:28

In this conversation, Jim shares his journey into the film industry, detailing how a little film called Star Wars inspired him to pursue a career in filmmaking. He discusses his early experiences in the industry, the evolution of trailer editing, and the critical role of marketing in film success. Jim reflects on his time at Castle Rock Entertainment, the challenges of marketing films like The Shawshank Redemption, and the importance of intuition in making marketing decisions. In this conversation, the speakers delve into the intricacies of film marketing, exploring the challenges faced in promoting films like 'Shawshank Redemption' and the impact of initial reception on a film's legacy. We discuss the evolution of film reception over time, about iconic directors like Stanley Kubrick and franchises like Harry Potter. Highlighting the importance of creativity in marketing and the unique experiences that come with working on significant film projects. Jim's book - Opening Weekend is available here! Shawshank Redemption Trailer All my links…

The Filmumentaries Podcast

1
120 - The Only Female VFX Camera Operator - With Maryan Infield 1:09:33

18 weeks ago1:09:33

1:09:33

In this conversation, Maryan discusses her journey into the film industry, detailing her entry point after film school, her experiences at Industrial Light & Magic (ILM), and the challenges she faced as a woman in a male-dominated field. She shares insights into the creative environment at ILM, the collaborative spirit among teams, and the innovative techniques used in films like Return of the Jedi. Maryan reflects on her post-ILM career, the changing dynamics in the industry, and the importance of perseverance and creativity in filmmaking. In this conversation, Maryan reflects on her experiences in the film industry, particularly focusing on the creative processes behind visual effects, the impact of influential figures like George Lucas, and the transition from effects work to live action and music videos. We discuss the challenges of working in different effects houses, the importance of collaboration, and the evolution of technology in filmmaking. The conversation also touches on personal career transitions, the balance between work and family life, and the shift towards education in the arts. All my links…

The Filmumentaries Podcast

1
119 - The Saga Museum with Gus Lopez 47:24

20 weeks ago47:24

47:24

In this conversation, Gus Lopez shares his journey as a Star Wars collector, discussing the profound impact of Star Wars on film and culture, the evolution of collecting through the internet, and the importance of storytelling in the collecting community. He also delves into the ambitious plans for the Saga Museum, a collaborative effort among prominent collectors to create a public space for showcasing their collections and sharing their stories with fans. In this conversation, Gus Lopez discusses the ambitious plans for a physical Star Wars museum, focusing on fundraising, educational components, community engagement, and the importance of support from Lucasfilm. He shares insights into the collecting journey, the responsibility of preserving cultural artifacts, and the vision for a location that attracts both fans and tourists. The conversation concludes with ways fans can get involved in the project. Takeaways Gus Lopez was a Star Wars kid who began collecting early. The influence of Star Wars on film and culture is significant. Collecting became serious for Gus in the early 90s. Networking among collectors was crucial in the early days. The Star Wars Collectors Archive was a pioneering website. Collecting is seen as a social hobby by Gus. Every collectible has a unique story behind it. The Saga Museum project has been in the works for three and a half years. Collaboration among collectors enhances the museum experience. Legacy is important; sharing collections with the public is fulfilling. The museum aims to shareunique memorabilia with a wider audience. Fundraising is a primary focus, with a goal of $2 million. Educational components will span history, art, and science. Community support is crucial for the museum's success. Lucasfilm's endorsement is vital for credibility and support. Collecting requires a range of skills and experience. The museum will preserve cultural artifacts for public enjoyment. Choosing the right location is essential for attracting visitors. Fans can contribute through donations and merchandise purchases. The museum will create a space for both kids and adults to learn. The Saga Museum Tour of Gus's Collection All my links…

The Filmumentaries Podcast

1
118 - Director Paul King on his new film "Shine On" 51:34

23 weeks ago51:34