Gentle Giant has been producing mini-busts based on the Star Wars universe since Palpatine was a baby. It’s Gentle Giant’s most succesful license and the busts have been the flagship of the line, and of the company.
The latest editions to the series include Garindan and the AT-AT Driver. Both of these were must haves for me, although as a somewhat completist on the busts I tend to get most of them anyway. You could originally pick these two up for around $50 – $60 depending on the retailer, but that’s changing fast.
Garindan is part of the classic New Hope creature feature, and as such his mini-bust is long overdue. He’s not on screen more than a few seconds, but multiple generations of kids recognize him on sight. I think Star Wars holds the record for turning nobodies into celebrities.
The AT-AT Driver is popular for several reasons. First, there’s the whole Hoth thing. Everything about Hoth was cool, from the Taun Tauns to the Snowtrooper outfits. Then you add in that the AT-AT (All Terrain Armored Transport) was one of the coolest vehicles ever created. The fact it’s also one of the most ridiculous from a real world perspective is totally irrelevant.
Put those two factors together, and if you put Jar Jar behind the wheel, he would have been cool. Almost. But they did far better than than, creating a great looking and fairly complex suit for the AT-AT Driver. This is a bust that’s been a long time coming, and I suspect that a lot of collectors are going to scramble to pick him up.
If you have any questions or comments, drop me a line at mwc@mwctoys.com, or head over to my site at Michael’s Review of the Week – Captain Toy for more reviews just like this one. Onward to the review!
Garindan, AT-AT Driver mini-busts
Both of these busts are ‘limited editions’, as you’d expect from Gentle Giant. The Driver is limited to 2500 pieces, while Garindan is 1500. There’s something about this AT-AT Driver though, as he is selling out fast all over the place. Garindan isn’t a slouch either, selling much better than other recent releases. If you want either one and you see them for retail, I’d grab them now.
Packaging – ***1/2
The box is the usual, no surprises there. It gets extra points for the display window, a big plus in my book. Without it, you have no way of knowning exactly what you’re getting inside the package, and a lot of dealers are refusing to open boxes in advance now. But with the window, you’ll at least be able to get a rough idea of the paint quality, especially on the critical portrait.
There’s also the nifty baseball card style Certificate of Authenticity, and clear winner and one of the better examples of a truly ‘collectible’ COA.
Sculpting – ***1/2
Both of these busts sport very detailed sculpts, and very accurate screen reproductions of the characters.
Garindan has the weirdly shaped elephant nose and goggles, complete with little holes and stitches. God only knows what terrible mug he’s hiding behind the mask, but it has to be pretty bad for him to think this ugly visage is an improvement. Then again, he could look like Brad Pitt, and the weird mask is all part of the ‘spy’ persona…
The cape suffers from a lack of texturing, an common problem for Gentle Giant busts, but the rest of the detailing is quite sharp and well defined.
The AT-AT Driver steps up the detailing even further, and they’ve done a wonderful job front and back on the more intricate pieces of his uniform. He also has one of the more interesting helmets in the Republic, and they’ve captured much finer detail here than we’ve seen in other recent releases. It really is an outstanding job, and may be on my short list of best busts of the year.
Paint – AT-AT Driver ***1/2; Garindan ***
None of the paint work can be called ‘sloppy’, but there are a few issues here and there, some of them merely aesthetic.
Garindan looks great for the most part, with clean cut lines and great colors. Of the two, his technical paint quality holds up better under close scrutiny, and yet he ended up with a slightly lower score. That’s because of the glossy finish on the ‘nose’, which seems out of place. It looks almost wet in fact, a feature that hurts the overall appearance for me.
Unlike Garindan, the AT-AT Driver has some slightly fuzzy cut lines, and a vew areas that needed a steadier hand. The saving grace is that you will only notice these under very close, careful examination, and in person you’re likely to not notice them at all. Add to that the cool white and gray colors accented by the small detail work, and you end up with a visual, if not technical, winner.
Design – ***
Neither of these are a particularly dynamic pose or style. That’s not too surprising, considering that neither character was all that dynamic in the films. Garindan does get to have his one arm out, holding the commlink in his right hand.
The AT-AT Driver looks…uncomfortable. You know how you’re at a party all by yourself, just standing around, and you don’t know what the Hell you should do with your hands? That’s what he looks like. I’m not saying they could have done much else – hanging at his sides or behind his back wouldn’t look any better, and across his chest would hide some of the cool sculpt details – but it does look a bit awkward.
Value – ***
I’m assuming you can find the AT-AT Driver at around $55 or so, same as Garindan. Sadly, that doesn’t appear to be the case any more, as demand for this bust has outstripped supply, something that hasn’t happened with a regular release Star Wars mini-bust in a long time.
However, you can still snag Garindan for a reasonable price, and considering the current cost of most statues and mini-busts, GG’s pricing on these has remained very competitive.
Things to Watch Out For –
Short of dropping them on a concrete floor, you’ll be fine. There’s nothing to assemble, and there’s nothing small and easy to break that’s out of the ordinary.
Overall – AT-AT Driver ***1/2; Garindan ***
While I’m a little surprised that the AT-AT Driver is pulling down more than $100 already on ebay, I suppose I shouldn’t be. As a key trooper from the best film in the series in one of the best battle sequences, his popularity shouldn’t catch you off guard. Still, it’s been ages since a regular release has garnered any real after market popularity, and most folks assumed that this line was dying out. These two prove that with the right character selection, the line still has some legs. Ironic, isn’t it?
Scoring Recap –
Packaging – ***1/2
Sculpting – ***1/2
Paint – AT-AT Driver ***1/2; Garindan ***
Design – ***
Value – ***
Overall – AT-AT Driver ***1/2; Garindan ***
Where to Buy –
These two seem to be the hot items right now. Finding the AT-AT Driver is pretty tough short of going to ebay, and there prices are over $100. Even Garindan is selling out fast, gone from stores like Big Bad Toy Store or Entertainment Earth. Online sponsors that are carrying these include:
– Urban Collector has Garindan for $55, but don’t have the driver.
– in the UK, you can pick up Garindan for 44 GBP at Forbidden Planet, but still no sign of the driver.
– of course, there’s always ebay where you may find a deal.
Note: These busts were purchased by the reviewer for this review. Photos and Text by Michael Crawford, copyright 2009.
Live in the southwest? Want to see the latest Cohen yarn? Don’t want to pay a dime to see it? You’re in luck as I have passes to giveaway to see A SERIOUS MAN, the Cohen’s latest, this upcoming Tuesday night, 7 p.m., at the Harkins Fashion Square theater.
Buy this disc now!
NICOLAS WINDING REFN: Hello Chris.
REFN: They did make a big film in Denmark about Hans Christian Andersen and I was set to play the lead as Hans Christian Andersen. But then the director decided on somebody younger who I think they were trying to get for a long time and the film turned out to be complete crap. And I think that’s because they didn’t choose me.
REFN: Yes. Every time I make a movie I try to conceive it as a piece of music because that gives me ideas when I write it or conceive it. So every time I make a film I try to say what if this was a piece of music and that gives me ideas. Just like taking drugs, but I don’t take drugs anymore because my wife won’t let me. They are not good for me. So I use music as a way to enhance emotions ““ that’s what music does it enhances your emotions. Let’s take Pusher Trilogy”¦the first one is early 80’s, late 70’s, tie dye and rock and roll, Johnny Thunder and the Heartbreakers, kind of late post punk nihilistic sound, everything had to be destroyed, everyone’s dying from drugs, Part II was very much Iron Maiden, that whole kind of feel, Part III was very Neil Diamond-ish. Bronson was originally composed for me to Pet Shop Boys. But I also wanted to make a very feminine movie that music was very much made me always aware of feminine. When it was time in editing I felt that Pet Shop Boys didn’t really add anything anymore. Kind of out done itself. And kind of opera and classical slipped in because I felt I could add to the movie a new character. Like Charlie Bronson’s life was larger than life. Like an opera. It was an operatic experience and classical music would help to enhance that.
REFN: No, because there is nothing to understand. He’s an enigma. There is no reason for the way he is except interpretation because there is nothing in his childhood. That’s what made the film interesting for me to make because it was an enigma. It was like traveling to the unknown. In my own transformation and Bronson being a movie about that, Valhalla Rising which is a movie that was just completed and picked up by IFC for the states to be released next year, is the first canvass in my mind after completing Bronson. It’s very much like life into kind of art Bronson/Nicolas Refn will create.
I know, it’s been some time since I’ve had a screening around these parts. Well, I am delighted to say that there are finally some that I will be able to invite all my readers in Arizona (the 1 of you) to attend.
It took me a while to get into 30 Rock.
First, a word on how Zombieland isn’t Shaun of the Dead 2: Jay of the Dead (where did I get Jay? It rhymes with DAY… never mind.) All the atrocious grammar, inept spelling, and questionable motives of “talk backers” on the net would make one think that the issue of plagiarism would be no big deal. How wrong one can be. In the dim, darkened world of the internet-age all movies that are sequels, prequels, remakes, reboots, sequel-remakes, remake-reboots, and rebooted-sequel-half-prequels are given a pass on their content. Generation “TROLL” screams out to Hollywood’s ears “Give me content I’ve already seen, only NEWER and with more CGI!” Yet, when a film tries to exist only on the merits of a script alone, that is when the content is harshly criticized. Apparently you can’t have two separate movies about the same subject anymore, not without bucket loads of hate spewed forth. These complaints seem to have mutated in the 90’s and snowballed into a mammoth sphere of ignorance.
Director Ruben Fleischer’s Zombieland might be the first time fast-moving-non-zombies have actually been properly utilized. The nitpicking loser inside me wants to complain, but the forgiving, Left-4-Dead addicted, softy inside me has to admit something. At no point was I bothered by the fact that the “zombies” where still-living-infected-humans, in a film called ZOMBIEland. This is because of how much of the film’s comedy is derived from the speed at which these zombies move. Right at the start of the flick we are told that due to speed, “the fatties die first.” As a fatty myself, I have to admit that this hilarious (and sadly true) assertion alone is enough to forgive all further use of non-Romero-certified-undead-slow-motion-zombies. Plus the name Zombieland is coined by Jesse Eisenberg’s character… making it the character’s mistake instead of the script’s. Also, it is time all of us who actually care about the Fast vs. Slow zombie debate admit that if fast-still-living zombies became a reality, we would call them “zombies” without hesitation. That doesn’t mean we love George Romero any less.
A hilarious slow-motion credit sequence is all we are treated to as for the initial onslaught of the infected uprising. Zombieland drops us into the already post-apocalyptic world of desolation. Narrated by Jesse Eisenberg, we are introduced to this world through his “rules” for survival, which makes a great running gag throughout the entire film. The movie doesn’t try to be a satirical horror flick bogged down in the meaning of life with heavy syrup. There is no sub-textual message about how “we are them, and they are us.” Zombieland is a simple action-comedy, but great in its simplicity and it stays true to what it is.
Opening credits and flashbacks aside, there are only five non-zombified humans seen throughout the movie, all of them with the simple goal of finding something that reminds them of a pre-zombie life. The girls, Wichita and Little Rock, Emma Stone and Abigail Breslin, are looking to visit an amusement park one last time. Woody Harrelson’s zombie-hunter, Tallahassee, simply wants to eat a Twinkie, and Jesse Eisenberg’s Columbus wants to find his “family.” Even the characters in the movie try to avoid sentimentality by calling each other by the names of the places they are from. This is not to say that there aren’t serious moments in the flick, but no more then your average action movie circa 1985. When dealing with death and survival you have to add in some semblance of emotion, here those moments are welcomed, short, sweet, and do give depth to these four survivors. At no point does the film feel cold or devoid of relatable themes, which serves the comedy, and separates it from empty action fare like Transformers 2 (I know, I know, let it go already… )
Woody Harrelson gives one of his best comedic performances since Kingpin. He is a classical machismo “badass” but he never stops giving us that sense that he’s basically just being Woody Harrelson, himself, which is arguably even funnier. He of course becomes the big-brother figure of Jesse Eisenberg, who is nothing more then a weak, scared, little wussy. Tallahassee is older, cooler, a hero archetype and externalizes all of his anger, so basically they are the Odd Couple in a zombie flick. In fact this might be the biggest flaw of the whole film, its mediocre character premise. We’ve seen these characters before and it’s pretty obvious where everyone is going and why. Paul Wernick and Rhett Reese’s script side steps most chances to make the movie’s themes and characters unique, not to mention all the technical aspects of the zombies them selves. However, all the sidestepping leaves more room for the comedy and the action, which in the end sells the movie as a cohesive entertaining whole. The characters have depth, we’ve just seen these depths so many times before, which isn’t necessarily a bad thing. The run time even felt short. It’s a movie review cliché but the flick doesn’t “overstay its welcome” one bit. If I’m going down the road of review clichés then I might as well mention that the flick is “just plain fun,” nothing messy. There is passion behind the need to provide light, hilarious, balls-out action-horror entertainment, you got to love that. It’s a rarity in theaters these days. Add to that a pretty good soundtrack (Metallica, Mozart, Van Halen, and Willie Nelson) and a rather cool teaser poster (the one without photoshopped actors.)
If it must be done, I’ll do it. Is Zombieland as good as or anything like, Edgar Wright’s Shaun of the Dead? No. Not really. Zombies and comedy is where it ends. Perhaps one could say that Shaun makes fun of the slow-moving-Romero-approved zombies in much the same way as Zombieland does the fast-movers. However, Shaun is a romantic comedy with zombies (a Rom-Com-Zom), with a much tighter, better script and a smaller scope. Shaun even has a “we are them, and they are us” message, plus a dump truck full of homage weaved throughout, with fantastic editing and direction to boot. Zombieland is a straight up action comedy, a great one, but that’s about it… unless there is something I’m not seeing. So there Mr. Internet, I hope that satiates your craving to compare mildly similar films. Thanks for reading.
Those who march to the beat a different drummer never met Power, air drummer savant.
DAVE BOYLE: Hi Chris. How are you?
CS: And to that point”¦James Lee [HEROES] is a household name in nerd circles for those who know. Did you really luck out in that sense that if you hadn’t made it when you did that James wouldn’t have been available? But maybe in the summer they get time off I would assume.
BOYLE: Hey, thanks.
BOYLE: In BIG DREAMS LITTLE TOKYO I was pretty stylish with the camera but for this time around I decided to trust the actors a little bit more and take a back seat with the style aspect of it. I did a storyboard of the movie. I blocked the actors, rehearsed the scene and my cinematographer decided where to put the camera from there. I really enjoyed working that way. It was a different way of working than Big Dreams. It was a big lesson and every movie has it’s own working style that works best to accomplish the goal that you are trying to reach.
I didn’t start watching The Office until this summer. I’m really late to this party.
CHRISTOPHER STIPP: I apologize to you in advance. In doing research on this, trying to figure out how this compares to previous works I looked at your resume and it was like a scene out of SNEAKERS when they open a file and there’s nothing in it”¦
ACKER: It was really fun. I came from architecture school, so I have a strong design background as well as study in sculpture and painting and things like that. That’s why I love the animation medium because it combines all my interests together into one thing. When you see the film, I think you will see that the architecture influence on it. It’s really about world making and there is a sense of reality to this world and like the real world it’s pushed, it’s a little different. The industrial revolution was allowed to progress for 300 years and never got to digital. Always stayed in this analog space. So for me, that’s the fun stuff.
It’s just trusting the process and trusting the artist. You can’t do it all yourself. Empower and educate them in a way so they can make the right choices and solutions and understanding what the core idea is and the aesthetic that we are going with.  I think a lot of that is that I spent a lot of time as a teacher, as well. Design classes and 3D classes and it’s really about educating and empowering and playing to people’s strengths, lifting them up and giving them the best crib space and environment. So, I try to do that. As an artist myself, no artist likes to be told what to do. No one wants to paint by numbers. You are just trying to give them the creative space and give them the right direction and let them solve it. You are always going to get the best work that way. So, yea, for me it was difficult and challenging but I was always respectful to the artist to try and keep us all on the same playing field. Anyone could come in and see the film and offer criticism or suggestions. Because that’s how I did the short. I showed it to so many people and always solicited opinions and advice because you never know who is going to have a great idea. Everyone has a valid opinion.
It really is an Oppeheimer/Geppeto tale at the heart of it all. It’s about the scientist who was blinded by the pursuit of technology to create something that turned the wrong way. It ended up destroying the world and as sort of the lack act that he did as the world was collapsing was to create new creatures that was the opposite of that represent all the hope and humanity and they are vessels for soul and he sends them out after all the humans fall apart as the way of making up for the sins of his past. Much like Oppenheimer after inventing the bomb was full of regret. He knew what the thing was that he was doing, but it was that blind pursuit of technology. It’s an incredible thing, but yet a horrific thing that he made. It changed the landscape of the world. So that’s what’s at the core but the story of the rag dolls is them looking back and figuring out their father was the one who brought the world down. What does that make them and will they make the same mistake that the humans made or will they create a new world in the ashes of that.
CHRISTOPHER STIPP: Thank you for talking to me. I am a huge fan of your work, from the early work to the work you’ve done in the last year. How did you become involved in this picture?
BECKMAMBETOV: Has to be delicate because we are directors too. It’s kind of unique. Two directors for a movie. That’s why we were trying to be very delicate.
BECKMAMBETOV: Yes, it’s the theme of the movie. What is soul for us? Can we transfer our soul to a machine? We really trust this machine and but people can make a mistake. And the moment you push a button, you stop the process. We take a picture and then we don’t remember because we know it’s there. It’s very dangerous because it can be broken, you can lose it, and we are losing. We are losing abilities. By Googling everyday, you don’t have to learn. Because you can Google all day long and our skills, our abilities to create everyday. And we make these machines and transfer our intellectual abilities, to remember, but there is no soul. And one day the star of the movie can try and explain this. I hope it will be not so soon.
PATTON OSWALT: Hi Chris.
OSWALT: It was the act of him coming to me to do the movie that gave me confidence that I could do it. He had written such a good script. He’s such a good writer. His instincts to be there for that meant a lot to me that he thought I could pull this off. It just gave me confidence.
CS: What kind of insecurities? You’ve got, not to put you over, but as I was getting prepared I didn’t realize how rich of a resume you now have.
OSWALT: Exactly. We had no idea. We didn’t know if we would have money to complete it let alone get distribution. I looked at it like this was just something I wanted to do for myself. The rest was secondary.
CHRISTOPHER STIPP: I love this movie. And it seems to be a real hit with those that have come in contact with it and I wanted to start off by talking about how close the grittiness feel the way the film looks like THE WRESTLER. It has that, I don’t want to say, dirty quality, but it’s so close to reality. Can you talk about that?
I don’t know if you are a fan of his stand up. He’s not a sports fan but understands the psychology of obsession. There’s not that big a difference is what the Giants did on 4th and goal vs. ranting about the comic book equivalent. From what I can tell Patton is a big comic book-phile, not a sports guy. I didn’t have him read for the part. I just hired him. It was something of a leap of faith. He’s such an intelligent guy. When I first met with him we had a long conversation about 70’s movies and people have different reactions to the script and people read it and think it’s a comedy. And it could have been.
SIEGEL: Sports radio is where the movie starts. Listening to sports radio, I used to listen to WFAN religiously and I still listen to sports radio but not religiously as I did back then and when you listen to it you hear these callers and you got to know them because they would call every night. And then you couldn’t help but wonder what their lives were like and where they were living. Most of those guys were the guys that populated the movies that I loved. The guys you would hear, Murray from Regal Park, or Joe from Flushing, calling on the FAN. Probably the kind of guys that wouldn’t hang out in the bar on Mean Street. They are just regular guys from outer burrow New York. So the movie is definitely a fusion of my level of listening to the radio, listening to sports radio but also these kinds of character studies that I got into when I was probably a teen-ager. It’s definitely a personal movie for me.
I really was a bad student in high school. Not horrible in the classical sense but I was absolutely a C student and I couldn’t grasp mathematical or scientific in ways that made me wonder if I was functionally retarded.
People will try and take pot shots at this series which has certainly had issues with trying to find its footing and voice but it still is trying to be something that geeks and nerds can call primetime goodness. This season finds itself marred in various storylines that seem to drag the series down a bit but it is still ballasted by its intriguing premise and the hope that they’ll actually listen to the fans who made this series last this long and get the train back on its proverbial course. There’s stuff to love and there’s stuff to, well, not love about this series but Season 3 still deserves a look see and what better offer out there today to do such a thing than with my contest to win Season 3 on DVD.
In OFFICE SPACE writer/director Mike Judge deconstructed the white collar workplace that has now become a classic in a way that some films never achieve on their own; the film has embedded itself underneath the collective experiences of those having to endure the pains of modern working life. IDIOCRACY explored the way in which our culture seems to be on a slow steady shuffle off the mortal coil of intelligent living. Who could disagree that the one of the more colorful choices of a future president of the United States was found in Terry Crews’ President Camacho? It was an honest examination of our descent into the banal, the bast and just plain stupid.
I am in love with this movie.
For those of us who love Bruce Lee’s influence on modern Asian cinema you’ve probably seen many incarnations of program in some form or another. Like an 80’s DJ who is ultimately limited by the fact that there is a finite number of tracks they can play, there seems to have been so much overlap with footage we’ve seen with regard to the man who was wickedly charismatic and destined for far more than we were given.
Some of you may know of Sun Tzu’s Art of War from its many incarnations from how it plunder’s Tzu’s theories on warfare and misappropriated them for self-help books all the way to manuals on how to get ahead in business. These derivative works are appallingly poor interpretations for what is, really, a how-to on using philosophy and intelligence to win battle.
Who here wants to win a movie?
I could stay awake for days on end watching clips from World War II.
When I bought Bobcat Goldthwait’s “Meat Bob” back in 1988 on cassette it was one the very first comedy albums I owned. I put Bobcat up there with Eddie Murphy and George Carlin but, here’s the funny part, I never bought Bob’s shtick. Yeah, he absolutely used that voice that made him famous as Zed in those POLICE ACADEMY and plundered that character for all it was worth but his comedy was brutally funny and honest. To wit, he has a bit in his set where he gives a glimpse of what it’s like to be a comedian. It’s subtle but you can hear how people’s perceptions of him shapes his comedy and it leads into a wicked joke that concerns a monkey, an alcoholic beverage and genitalia. You can hear his honesty, you can feel his true self and it’s what attracted to me to the guy’s work for over two decades.
CHRISTOPHER STIPP: Thanks for doing this interview. I’m going to go out on a geek limb and tell you that I dug out my cassette of Meat Bob that I’ve had since the 80’s and revisited that and your old HBO comedy special which I still had on VHS tape”¦
CS: And Robin, himself, he’s a sympathetic character. I felt downright sorry for the guy. He’s trying to make good decisions, do the right thing. Explain to me the idea of the character, the twists of the film come in later, but what launched his character. Was it Robin himself? Or was it the twist that came and you thought that would be a good premise for a movie so let’s build around that?
GOLDTHWAIT: I think it’s what we are talking about ““ the sense of entitlement and the inability that their actions affect other people. They are just exposed to everything. We are becoming a culture with no consideration of couth.
GOLDTHWAIT: There were two different companies came to me and said we were trying to make changes and I actually walked away from these two deals that were in place. They proceeded to tell people in LA that I was crazy and that the movie wasn’t going to get made but honestly it was nothing I was ashamed of. I already have plenty of that.
Ari Gold, the man who created the very funny ADVENTURES OF POWER, passed along an e-mail message to let me know that 
I’ve got some DVDs to give away. Want some?
Director: 
Once again we’ve got passes to see a sneak preview of a film that’s about to drop soon. This time it’s for the new Ang Lee film, TAKING WOODSTOCK.
I remember my first time learning what satire was in college.
This movie deserves a place.
I would remiss if I didn’t mention the untimely passing of John Hughes.
Bernie Madoff.
Those looking for love won’t ever find it and those who don’t believe it exists never had a child who dotes on them. It’s a slippery thing, love, when you think about the way it finds some and the way it ignores others. Growing up, I was enchanted by films like ONE CRAZY SUMMER and BETTER OFF DEAD by director Savage Steve Holland or the suite of films from John Hughes where characters were placed into every embarrassing situation as it pertains to the courting rituals of the modern American teen. As you head into older age, it would follow, should “love” be as elusive as it was during the awkward years of prepubescence you would start developing the jagged edges of those burnt-out on bad relationships while developing an acute distaste for all things sweet and lovey-dovey.
JASENOVEC: It made sense because she performs all around Los Angeles and is comfortable on stage and everything. She’s really funny and charming and she has a unique comedic voice so it just made sense. A lot of our favorite documentaries always feature the document writer on camera in the primary role and once I found out how she felt about love I thought the audience should really experience the journey through her eyes. Because she had these specific feelings and that’s what drives the film. So once we decided that we started working on the idea and came up with the sort of scripted story line to tie everything together and give the story some sort of arch for Charlene and just for story line.
CS: Now that begs the question, when you had about 300 hours footage and you said, “OK, we have 300 hours and we need to make a movie that’s 90 minutes and change.” Where do you start? Obviously you start with your story.
CS: Does it help that you guys did this independently?
