Interview:2024/11/26 Interview with Dean Karr
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| Interview with Dean Karr | ||
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| Interview with Dean Karr | ||
| Date | November 26, 2024 | |
| Source | The Manson Podcast, ep. 2 | |
| Interviewer | Alex Sinclair and Jenna Arkansas | |
 This page or section contains speech recognition generated transcription and may be incorrect.
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Transcription[edit]
- The transcription below is a WebVTT file generated using OpenAI Whisper.
WEBVTT
00:00.000 --> 00:07.520 Hello, everyone. You're listening to the Manson Podcast, a podcast dedicated to the
00:07.520 --> 00:11.460 icon, Marilyn Manson. I am your co-host, Alex Sinclair.
00:11.960 --> 00:15.180 And I am your other co-host, Jenna Arkansas.
00:16.400 --> 00:22.620 Welcome to episode two, where we will dive into pivotal points in Manson's career, such
00:22.620 --> 00:28.480 as the Sweet Dreams music video and Antichrist Superstar album artwork, with the help of
00:28.480 --> 00:34.100 our very special guest, Dean Carr, who played a major role in both of those projects.
00:41.360 --> 00:46.020 I just want to take this time to thank all the fans all over the world that has shown
00:46.020 --> 00:50.840 our podcast love and that has shared our content and that have listened. The numbers have been
00:50.840 --> 00:54.840 astronomical, and we just really want to thank you guys.
00:54.840 --> 01:01.640 Yeah, I think we hit 30 countries. I checked just a little bit ago, and we were at 705
01:01.640 --> 01:07.960 followers on Instagram. That's crazy just to have one episode and be doing a second one
01:07.960 --> 01:11.400 and I already have that many followers. So y'all are awesome.
01:12.600 --> 01:17.680 And for episode two, we have Dean Carr, a very special guest. And we're just going to talk
01:17.680 --> 01:22.980 a little about Dean Carr before we get into this episode. And we're also going to talk
01:22.980 --> 01:30.800 about the Sweet Dreams music video and Antichrist Superstar, just briefly. So Dean Carr has known
01:30.800 --> 01:36.220 Manson for almost 30 years now. He's the music video director of Sweet Dreams and the photographer
01:36.220 --> 01:40.940 of Antichrist Superstar. Jenna, do you want to talk about who he has worked with?
01:40.940 --> 01:51.120 Dean has really contributed to so many amazing artists and like their early years. So we have
01:51.120 --> 02:03.440 Slipknot, Pantera, Tool, The Prince of Darkness, Ozzy Osbourne, Ministry Korn, even as wild as Dave
02:03.440 --> 02:12.980 Matthews Band, Willie Nelson, the amazing Lisa Marie Presley, and Deftones. So he's got a pretty
02:12.980 --> 02:20.120 amazing catalog. And that's just some. Dean has worked with practically anyone that we've all looked
02:20.120 --> 02:26.540 up to as we were growing up. And we might not have known in those moments of watching music videos and
02:26.540 --> 02:33.280 seeing album artwork, how he did those. I remember when I found out he did the Dave Matthews Band video,
02:33.280 --> 02:41.500 Crash, which I'm not a huge fan of Dave Matthews, but that music video is incredible. Even some album
02:41.500 --> 02:48.080 artwork like The Tool and Slipknot and all that. I mean, it's just, it's insane. I had no idea he did
02:48.080 --> 02:56.160 A Perfect Circle's 13th Step. And I was in love with that album artwork. Dean made my aesthetic of
02:56.160 --> 03:03.020 videos and photography. So we are going to tell everyone how to get in contact with Dean because
03:03.020 --> 03:10.860 he sells prints from music videos, photo shoots, and they're directly from him. You work directly
03:10.860 --> 03:17.100 with him. And I know some people might be a little nervous to reach out to him, but he is such a cool
03:17.100 --> 03:24.000 guy. And he's down to talk with everyone and anyone. So the way to get a hold of him to buy some of these
03:24.000 --> 03:34.660 very exclusive prints, you go to his Facebook and his name is Dean Carr, K-A-R-R. You add him and you
03:34.660 --> 03:40.600 direct message him and you tell him what you're looking for and et cetera, et cetera. And he sends
03:40.600 --> 03:47.920 it out and you have awesome prints all over your house like I do from him. He has behind the scenes
03:47.920 --> 03:53.580 stuff. He has a lot of interesting stuff from all the artists that we've mentioned, not only just Manson,
03:53.580 --> 03:59.580 but he has a huge Manson catalog, but along with the other bands we mentioned and singers, he has a
03:59.580 --> 04:08.360 ton of inventory. So please head over to his Facebook, Dean Carr, K-A-R-R, and add him and then
04:08.360 --> 04:10.480 direct message him. He will hook you up.
04:10.980 --> 04:18.080 I want to know why it is that all of you seem to have satanic songs all over you. And what is it that
04:18.080 --> 04:23.880 does this music cause you to do what you do? So let's move on to the Smells Like Children EP.
04:24.580 --> 04:32.740 It was from what Sweet Dreams was made from. So it was released on October 20th, 1995. It was a
04:32.740 --> 04:39.240 very experimental EP. It came after the debut album of Portrait of an American Family, which was released
04:39.240 --> 04:45.940 in 94. However, this EP was very different. It was very experimental. It was, I don't think it's
04:45.940 --> 04:51.880 anything like he's ever put out again. I also just want to say that I feel like if you don't get
04:51.880 --> 04:59.340 Smells Like Children, you just don't get Marilyn Manson. I agree. So the actual music video of Sweet
04:59.340 --> 05:06.820 Dreams was not released until 96, and it was the only single that was released from Smells Like
05:06.820 --> 05:12.040 Children. It was on the record label Nothing Records, which was under Interscope at the time.
05:12.040 --> 05:18.640 Trent Reznor produced the record. Band members Twiggy Ramirez, Pogo, Gingerfish, and Daisy Berkowitz.
05:19.240 --> 05:27.140 The Sweet Dreams music video was actually nominated for a 1996 MTV VMA for Best Rock Video, but it lost
05:27.140 --> 05:34.140 to Metallica until it sleeps. Manson explains in his autobiography, Long, Hard Road Outta Hell,
05:34.480 --> 05:41.560 that he envisioned a slower, darker version of this song. It was originally done by the Arrhythmics,
05:41.560 --> 05:47.440 obviously way more uptempo, way more poppy, but he envisioned this, and I personally think this is
05:47.440 --> 05:55.760 his best cover. He's done a lot of covers. I think that that is his most well-known cover,
05:56.060 --> 06:02.400 but also at the same time, I think that more people found that song because Manson made it his own,
06:02.400 --> 06:07.740 and a lot of times when people do covers, they just kind of replicate it. They don't try to make
06:07.740 --> 06:13.680 it their own. He definitely did that because that is completely different, but I feel like all walks
06:13.680 --> 06:23.280 of life love the Manson version of Sweet Dreams because it is slower, darker. I love Eurythmics' Sweet
06:23.280 --> 06:29.180 Dreams, but I love the Manson version more. So, you know, make it your own.
06:29.180 --> 06:35.520 Exactly. And Manson made that song his own for sure. I think after that, if people wanted to make
06:35.520 --> 06:41.140 a remake of a song, they thought outside of the box, but it was after Manson. I mean,
06:41.160 --> 06:44.080 he really took it and made it his own, and I think that's very important to put out.
06:44.080 --> 07:00.880 Okay, so let's move on to Antichrist Superstar. Everybody knows that's a Manson fan knows how
07:00.880 --> 07:05.960 important this album is, so we're not going to sit here and bore you with how important this album
07:05.960 --> 07:11.940 is because I'm sure eventually we'll do an episode discussing the importance of Antichrist Superstar,
07:11.940 --> 07:17.980 and we'll get really super detailed into that. Dean is the photographer for the album artwork,
07:18.200 --> 07:24.900 and everybody freaked out about and caused a huge stir in the 90s, as you will, just by the imagery
07:24.900 --> 07:32.760 alone. So Antichrist Superstar was released on October 8th, 1996. It peaked at number three on
07:32.760 --> 07:39.200 the Billboard charts. It was on Nothing Records. That was under Interscope as well. It was groundbreaking
07:39.200 --> 07:45.080 from the imagery to the music to the music videos. If you weren't familiar with the music videos or the
07:45.080 --> 07:52.880 songs, you saw the album artwork and people were pissed off. Yes, I think just from the Sweet Dreams
07:52.880 --> 08:01.360 video alone, I think people kind of got that image of Manson. If we go back into the 90s during that time,
08:02.080 --> 08:06.380 nobody looked like that. Nobody looked like that. Nobody was bringing that to the table,
08:06.380 --> 08:14.300 and I think in between Manson's vision and Dean's vision, I mean, they kind of created that
08:14.300 --> 08:23.300 creepy, cool look. The Antichrist Superstar photography alone, that's, I mean, you don't
08:23.300 --> 08:30.600 have to say it. It's iconic, obviously, but it was just so different. So different. I mean,
08:30.600 --> 08:37.060 we have Dean to thank for that. Yes, we do, and we're going to ask him a lot about how they came
08:37.060 --> 08:43.360 up with some of these imageries. There's just pivotal points in people's careers, and this was
08:43.360 --> 08:48.340 a huge pivotal point for both Manson and Dean, and it started with Sweet Dreams, and then it just
08:48.340 --> 08:54.600 went, it just melted into Antichrist Superstar. So it was like one after the other. America and the
08:54.600 --> 08:58.720 country and the world got double whammied by Manson's rebellion to the world. So here we go,
08:58.720 --> 09:01.180 guys. Let's try and get Dean Carr on the phone here.
09:05.940 --> 09:13.280 Everyone, please welcome Dean Carr to the Manson podcast. All right, Dean, can you just tell us a
09:13.280 --> 09:19.040 little bit about yourself before we dive into all this Manson criteria we have to meet here?
09:20.040 --> 09:28.440 Yeah, well, I'm a silly guy from Seattle. I am 59 years old now. I moved here to Los
09:28.440 --> 09:37.500 Angeles from Seattle in 1989 with everything in tow. I had semi recently graduated from Washington
09:37.500 --> 09:44.820 State University in Fine Arts Department and was doing photography on the weekends in Seattle,
09:44.820 --> 09:53.660 mostly fashion stuff that was a long time ago. And I had felt I wanted to further my education with a
09:53.660 --> 10:01.340 better education with focus in photography. And I applied to the Art Center, College of Design in
10:01.340 --> 10:08.940 Pasadena, which is definitely one of the elite art schools in the country, if not the world. And I was not
10:08.940 --> 10:17.500 accepted my first time I applied, I got in my second time and packed everything up. And my family station
10:17.500 --> 10:25.180 went to the U-Haul trailer and headed to California. I came down here, started classes and just loved it. It was in
10:25.180 --> 10:35.180 Pence. It was very, very, very, very, very serious curriculum and workload of assignments and stuff. But I felt I
10:35.180 --> 10:43.900 really excelled my understanding and embellishment of the arts and photography. Technically, I hadn't learned anything
10:43.900 --> 10:58.700 technically with studio lighting and strobes and theory at the prior Washington State University. I went there for five years. But I was basically getting a diploma in life back then. I was so young.
10:58.700 --> 11:04.220 I was in a fraternity. I was a frat boy.
11:04.220 --> 11:07.740 No way. I can't picture that for some reason.
11:07.740 --> 11:36.940 It was a great time. It was, uh, that's when you learn kind of who we are and, uh, you know, how to deal with people and stuff. It's, uh, that's important years there. But it wasn't the time to really say I got a extensive, uh, education. So I went on to Art Center to do that. And, uh, I was about halfway through fourth semester of eight. And I was already working full, full time, man. I was super, uh, super ambitious and
11:36.940 --> 12:06.920 loved all my business classes there and was definitely a very, uh, wasn't shy. So, uh, if, uh, I wanted to work for your record label, you'd be hearing from me every month. I kept a very, very, very detailed, uh, big spread calendar on my wall in my house in Pasadena. And I would mail out promos every month. I would make phone calls probably twice a month until I drove everyone nuts and, uh, got my first opportunities to work. Dino Paredes said, uh,
12:06.920 --> 12:22.760 Priority Records was, uh, Dear Friend and brought me in early and, uh, kept me busy shooting a lot of hip hop. We did, uh, did a few things with, uh, NWA and EZE and, uh, some other rock and hip hop things on Priority. Priority was a super cool label.
12:23.260 --> 12:33.520 And, uh, also, uh, Triple X Records, uh, was more indie art, art stuff. They had like the early James Addiction stuff and Christian Death and cool stuff like that.
12:33.520 --> 12:38.060 Basically all of the labels. I was like doing Guns N' Roses early, early on.
12:39.440 --> 12:58.020 I got a lot of, uh, uh, opportunities and I had a lot of, uh, early musical things that got a lot of attention, like, uh, the Pantera Far Beyond Driven, uh, with the X-rated cover and then the cover we had to redo the cover cause they didn't like it in a Walmart.
12:58.020 --> 13:03.540 So we had to do that cover. Um, and the Tool Undertow was a huge, huge launching pad for me.
13:03.540 --> 13:13.520 But with all the photography and that working with Adam Jones, uh, closely on that, Alice Cooper, Last Temptation, this is all between leaving school.
13:13.520 --> 13:34.520 And, uh, when you're ready to go into the work workforce, uh, you know, when you're ready and I, I was a super ambitious, uh, business guy and I, you know, I knew I was doing something different than, than, uh, you know, the next commercial photographer guy or I was, uh, starting to set, set a style.
13:34.520 --> 13:49.920 It was definitely all on my own and I didn't really have any intention of staying in Los Angeles, but I got so damn busy, man, by like 19, 1994, which was, you know, just a year, year and a half before sweet dreams.
13:49.920 --> 14:05.140 It was, uh, just, uh, shit got crazy, man. Uh, it got crazy. I mean, I couldn't do all the work that was coming in. Uh, just, uh, floodgates went down and, uh, uh, uh, that seemed to be the flavor of the month.
14:06.080 --> 14:13.460 So Dean, seriously, the, the number one question that everybody wants to know is how, wait, go ahead.
14:14.460 --> 14:15.980 Yeah. What's the number one question?
14:15.980 --> 14:24.360 The number one question is, how did you get introduced to Manson to do the sweet dreams music video?
14:25.420 --> 14:45.660 Well, let me tell you how that happened. Um, I talked to Brian over the weekend. He, uh, uh, reminded me that he had seen my, uh, early work. My early work was, um, it was the things I mentioned, but it was also, uh, my work in the Los Angeles gallery scene. I was doing.
14:45.980 --> 15:01.100 A lot of art exhibitions with prestigious artists like Joel Coleman and, uh, uh, Robert Williams, big, big artists. And, uh, um, he had seen my work and, uh, contact, contacted his manager, uh, Tony.
15:01.100 --> 15:20.100 Uh, uh, to contact my agent, uh, who is Cordelia Plunkett. And that was at a, uh, smaller independent, uh, uh, production company thing called the underground. And the track came in through Cordelia as a reach out from, uh, Manson to Tony, to Cordelia to me.
15:20.100 --> 15:35.100 And I heard it and it was like, Holy crap. This is so cool. Uh, I was obviously a fan of the original. I, you know, grew up on MTV and, uh, that, that was a huge, huge, uh, part of our generation was that you really makes a video.
15:35.100 --> 15:48.100 So I hadn't really busted out in music videos. This was, I was only a still photographer doing those titles that I mentioned prior. So yeah, I'd, I'd done a few, few videos. Uh, one, two, three, four.
15:48.100 --> 16:12.100 It was around this time. I was probably like number six or seven, six or seven. I had done a dancing and corrosion and conformity, love and rockets. I really liked jumping into music videos. Cause I had, I had never had any formal training or any experience being on set doing a film production, never really had a film class or anything.
16:12.100 --> 16:31.100 And, uh, uh, I, uh, really liked seeing that my images didn't have to just be static, still images. And I could retain the look and quality of everything with the texture and the lighting and the, uh, the grit and get those into moving images.
16:31.100 --> 16:44.100 So, uh, it was super exciting and no, it was doubly cool that, uh, I could be collaborating with, with art department, cinematographer, uh, electric grip, uh, producer, systems director.
16:44.100 --> 16:53.100 It was, it was just really cool. It was also, you had a family of, uh, consistent people that would show up on every job and some people don't come back.
16:53.100 --> 16:58.100 And, but, you know, usually you work with great people and we built our force early on.
16:58.100 --> 17:07.100 And, uh, that was the first time I'd worked with my producer, Arthur Gorson was on this job and Cordelia, my agent introduced our, Arthur and me.
17:07.100 --> 17:15.100 And we did this first job and he had always been a producer that would take, uh, directors to exotic, beautiful locations.
17:15.100 --> 17:24.100 And we still laugh today that I was the director who got to take him into the stewards of LA for the first time.
17:24.100 --> 17:31.100 He's earned his wings cause he, he, uh, he put up with my, uh, my crazy, dirty locations for 28 years.
17:31.100 --> 17:32.100 You know?
17:32.100 --> 17:39.100 Now, did Manson, did he specifically ask you, like, what did he, how did you guys come up with the concept?
17:39.100 --> 17:44.100 Did he give you some ideas and then you ran with them?
17:44.100 --> 17:48.100 No, in this round, that was more, uh, Antichrist Superstar.
17:48.100 --> 17:54.100 This was, um, when I get a track, I listened to the track.
17:54.100 --> 18:02.100 I read the lyrics extensively and I have, uh, several meetings with the singer, the band, you know, you know, it was a cover.
18:02.100 --> 18:03.100 Your rhythmic.
18:03.100 --> 18:13.100 So I often go to the flea markets and I'm just looking for things that, you know, there's, everybody thinks there's like some defined meaning of everything that is in the video.
18:13.100 --> 18:16.100 It's like people there's no, it's just cool shit.
18:16.100 --> 18:26.100 It's like, I can go to the flea market and find something that looks cool on someone's head or something that you wouldn't usually put on someone's head, but it looks great.
18:26.100 --> 18:28.100 And that's all that matters is what looks great.
18:28.100 --> 18:32.100 I had some very specific things that I wanted to make.
18:32.100 --> 18:37.100 And Manson was just a, so, so open and easy to work with.
18:37.100 --> 18:41.100 One thing we both had in common was we love controversy.
18:41.100 --> 18:45.100 Anytime we can, we can bring it.
18:45.100 --> 19:02.100 Uh, I, I prior, like I'd done work with Dr. Dre and Cypress Hill, and it was always based on, uh, uh, uh, poking, poking at the Catholic church, um, which I was brought up in that whole realm.
19:02.100 --> 19:11.100 And, uh, that definitely added to my, my flavor of, uh, um, uh, creating controversy and dark sensibilities.
19:11.100 --> 19:20.100 You know, I like anything that evokes free thinking and inspired by, you know, eroticism, sexuality, all that stuff's great.
19:20.100 --> 19:24.100 Um, but, uh, the church was always a big thing for me.
19:24.100 --> 19:29.100 If I pissed off on the mothers across the world, uh, it was a success.
19:29.100 --> 19:32.100 That's how I looked at it was a successful project.
19:32.100 --> 19:33.100 So yeah.
19:33.100 --> 19:44.100 And having just the most amazing artists to work with where, you know, this was an early time in, uh, it wasn't especially like a early time in music.
19:44.100 --> 19:49.100 It was, but it was a time in music is when you could, you could, uh, do whatever the hell you wanted to do.
19:49.100 --> 19:51.100 There were no rules, no formulas.
19:51.100 --> 19:55.100 It was just full blown freedom of creativity.
19:55.100 --> 20:04.100 I will get into the record industry a little later, but that shit does not exist today, nor did it exist around like 2010 onward.
20:04.100 --> 20:08.100 It was, uh, way too many fingers in the fire there.
20:08.100 --> 20:13.100 And we had full freedom from management, from the label.
20:13.100 --> 20:15.100 Jeff Anderson, I believe he's at Interscope.
20:15.100 --> 20:17.100 He was just freaking awesome.
20:17.100 --> 20:26.100 I love that you were finding stuff in flea markets because I feel like my entire life, that's what I've done is try to find something creepy and bring it home and just have it in my house.
20:26.100 --> 20:27.100 So that's amazing.
20:27.100 --> 20:28.100 Yeah.
20:28.100 --> 20:29.100 Yeah.
20:29.100 --> 20:39.100 It helps to have a bird department that can, uh, take my, what I find and, you know, create gears on it or things that move on it.
20:39.100 --> 20:44.100 If I want to, uh, have something animatronic on a hat or something that pops out.
20:44.100 --> 20:49.100 I was just starting to learn to trust people because I'd always been a one man show as a photographer.
20:49.100 --> 20:51.100 And it was like super cool.
20:51.100 --> 20:55.100 I had guys that had full wood shops and machine shops.
20:55.100 --> 20:59.100 And I started working with the amazing Screaming Matt George.
20:59.100 --> 21:01.100 Actually I had, I had worked with George.
21:01.100 --> 21:05.100 I worked on a few things with him prior to that.
21:05.100 --> 21:10.100 And Screaming Matt George is a long, long time friend.
21:10.100 --> 21:13.100 And, uh, he was my prosthetic, uh, prosthetic artists.
21:13.100 --> 21:18.100 He made a lot of things for sweet dreams and did a lot of makeup in the video.
21:18.100 --> 21:22.100 I had wanted to make the, uh, clock head.
21:22.100 --> 21:24.100 I called it the dream machine.
21:24.100 --> 21:30.100 These were things I, I was like taking apart sweet dreams.
21:30.100 --> 21:35.100 Uh, and then they got into like, uh, Oh, an alarm clock.
21:35.100 --> 21:40.100 Oh, uh, well, alarm clocks aren't cool, but antique, uh, stopwatches.
21:40.100 --> 21:41.100 Those are cool.
21:41.100 --> 21:47.100 So I, I invented the dream machine, which had all the hoses coming off of, uh, armature.
21:47.100 --> 21:50.100 That Manson had to wear and stay.
21:50.100 --> 21:56.100 He had to stay absolutely freaking still or the watches would wiggle on those.
21:56.100 --> 21:59.100 Uh, there was like a metal armatures covered in black rubber.
21:59.100 --> 22:03.100 So, uh, they wouldn't illuminate and they were just like clocks.
22:03.100 --> 22:04.100 Uh, it was like a Medusa thing.
22:04.100 --> 22:11.100 I made a Medusa, uh, dream machine on his head with all those, uh, those, uh, individual stopwatches.
22:11.100 --> 22:16.100 And I remember Vance Burberry, who is my cinematographer on this and many other projects.
22:16.100 --> 22:24.100 He had to shoot a pinpoint of light to only, only hit the face of each stopwatch.
22:24.100 --> 22:27.100 He was probably using these, uh, mole ridges and minimal lights.
22:27.100 --> 22:33.100 You could control just a very, like a nickel size, uh, spill of light out of these lights.
22:33.100 --> 22:43.100 And if, I don't know if there was like nine of them, he would have nine tiny mini moles where Manson had to stay absolutely, absolutely still.
22:43.100 --> 22:44.100 And I really liked that.
22:44.100 --> 22:46.100 I had him close his eyes and just open his eyes.
22:46.100 --> 22:49.100 He was able to do that without shaking his head.
22:49.100 --> 22:56.100 And then at the end, after we had gotten what we needed, I just had him, there's a scene in the film, uh, when he just started shaking his head.
22:56.100 --> 23:00.100 And I was just like, yeah, just try to destroy it as much as you can.
23:00.100 --> 23:04.100 And once you get your safety stuff, you can break stuff too.
23:04.100 --> 23:13.100 So the location, the location where the band performed was a burnt out church, uh, right on the outskirts of downtown Los Angeles.
23:13.100 --> 23:19.100 I had done a photo shoot or two that were never really seen.
23:19.100 --> 23:21.100 That's how I was aware of this church.
23:21.100 --> 23:25.100 It was, uh, just completely destroyed from a fire.
23:25.100 --> 23:36.100 And, uh, the homeless problem wasn't to the extent anywhere near what it is today, but it was, it was a haven for, uh, homeless people.
23:36.100 --> 23:44.100 They, uh, they, uh, definitely were, were living in there, but we, uh, we, we permitted it and owned it for the day.
23:44.100 --> 23:49.100 So it was legally done and it's long since been leveled and demolished.
23:49.100 --> 23:52.100 People always write me and want to know where it is.
23:52.100 --> 23:54.100 Like it's dude, it's, it's not there.
23:54.100 --> 24:01.100 If we did that video in 95, 96, it was probably leveled by 2002.
24:01.100 --> 24:04.100 But, uh, we had the main performance room with the band.
24:04.100 --> 24:12.100 And I remember, uh, uh, I was wanting one of the band members to go down in the hole in the, in the floor there.
24:12.100 --> 24:18.100 Uh, I was expecting that they were going to have to draw straws to see who was going down in there.
24:18.100 --> 24:20.100 Ginger didn't even, uh, need to draw a straw.
24:20.100 --> 24:22.100 He goes, Hey, I'll go down in there.
24:22.100 --> 24:24.100 And he loved it down in there.
24:24.100 --> 24:28.100 But that was, uh, the, uh, homeless people's, uh, freaking toilet.
24:28.100 --> 24:31.100 It was full of fucking shit down there.
24:31.100 --> 24:34.100 And he went down in the, in the human toilet there.
24:34.100 --> 24:36.100 And we called him rat boy.
24:36.100 --> 24:40.100 Cause he looked like a rat when he'd stick his head out and shake his hair around.
24:40.100 --> 24:45.100 And then he pulled the snare drum into the hole and, uh, like a rat, like a rat.
24:45.100 --> 24:47.100 But he, he lived down in that hole.
24:47.100 --> 24:50.100 Uh, you know, we, he didn't play a drum set on the video.
24:50.100 --> 24:57.100 He did to, uh, have anything to do with the drums, which continually pulling and throwing a snare drum in and out.
24:57.100 --> 24:59.100 There was absolutely hysterical.
24:59.100 --> 25:00.100 He was, he was great.
25:00.100 --> 25:01.100 So that was that.
25:01.100 --> 25:11.100 And, uh, there was a little, uh, that was off the kitchen where we shot Quiggy in that, uh, candy cane dress, uh, that he looked so awesome in.
25:11.100 --> 25:13.100 And, uh, Twiggy kept saying, don't go in there.
25:13.100 --> 25:15.100 There's it's the spooky pooper.
25:15.100 --> 25:18.100 I think we put a sign on the one said spooky pooper.
25:18.100 --> 25:26.100 I love working with animals and some really crazy shit with animals over the years with hyenas and mandrill baboons.
25:26.100 --> 25:27.100 Yeah.
25:27.100 --> 25:31.100 But when we need an animal, we, we have to, uh, bring in an animal handler.
25:31.100 --> 25:35.100 She brought the big, a giant pig in and, and the burbs.
25:35.100 --> 25:38.100 So the woman came with her daughter.
25:38.100 --> 25:39.100 It's a family business.
25:39.100 --> 25:43.100 You know, if you need this animal, if she doesn't have it, you know, someone does.
25:43.100 --> 25:48.100 It's a lucrative business in, in Hollywood animal handlers.
25:48.100 --> 26:00.100 Anyhow, uh, I did myself though, go to the pet store and buy crickets, which you can see the crickets, uh, crawling on Manson on the director's cut of our video.
26:00.100 --> 26:02.100 I do want to touch on this.
26:02.100 --> 26:09.100 Cause I said this earlier when I spoke to you, a lot of directors are not as crafty as you.
26:09.100 --> 26:11.100 How did you learn how to be so crafty?
26:11.100 --> 26:26.100 Once again, I came from a background of, you know, I was exhibiting, um, I was doing a lot of sculpture, metal, leather, photography, resin, oil painting, uh, found object sculptures.
26:26.100 --> 26:35.100 So, you know, I was always making things for my exhibitions and, and you know, I, I'm pretty good with tools and stuff.
26:35.100 --> 26:36.100 Yeah.
26:36.100 --> 26:47.100 But Dean, seriously though, not that I'm any big wig or anything, but I did go to Full Sail for film and I graduated in the early two thousands, but directors, they don't want to get down in the dirt like that.
26:47.100 --> 26:48.100 Okay.
26:48.100 --> 26:53.100 So Dean, can you tell us about any obstacles or challenges you faced while filming?
26:53.100 --> 26:54.100 Nothing.
26:54.100 --> 27:04.100 You, you have a subject, uh, that you can do anything to, you know, you could light them on fire if I wanted to light them on fire.
27:04.100 --> 27:05.100 Anything goes.
27:05.100 --> 27:14.100 There was, there was, uh, you know, uh, I, I turned in my first cut, which is the cut that you all become familiar with called the director's cut.
27:14.100 --> 27:18.100 And that was the only obstacle at the end of the job I turned the note in.
27:18.100 --> 27:22.100 And, uh, it was, I think it was too much animation for the record label.
27:22.100 --> 27:30.100 And, uh, years later, I can agree with them that it was some people write and say, Hey, I really liked that better than that.
27:30.100 --> 27:43.100 And I, you know, at the time I would have agreed with that, but I think that what we turned in was a much, uh, more, uh, mature, uh, MTV, uh, friendly thing.
27:43.100 --> 27:44.100 That flew better.
27:44.100 --> 27:49.100 The animation, uh, was overwhelming in the director's cut.
27:49.100 --> 28:00.100 As I remember, I have not seen it in quite a while, but, um, I was very proud of the photo animation I was doing because that's pretty much was my own thing.
28:00.100 --> 28:03.100 Uh, for the industry, nobody was doing that.
28:03.100 --> 28:06.100 Definitely wasn't doing it to the degree that I was doing it.
28:06.100 --> 28:10.100 I was hand processing thousands and thousands of prints.
28:10.100 --> 28:18.100 We hired an animator who animates like, uh, sell animation, uh, for the movies and stuff.
28:18.100 --> 28:19.100 This is all before digital.
28:19.100 --> 28:21.100 This is kids.
28:21.100 --> 28:24.100 This is back when we used the thing called film.
28:24.100 --> 28:25.100 Film.
28:25.100 --> 28:32.100 You know, I was a young, young director and I, I thought the director's cut was the one to go and you're personally attached.
28:32.100 --> 28:37.100 So it was, it was a little, uh, uh, heartbreaking that they want to go with the other one at the time.
28:37.100 --> 28:47.100 But now that I'm a mature man and made many projects over the years, I can totally see that they wanted to go with the version they went with.
28:47.100 --> 28:50.100 I was just a young, sensitive artist at home.
28:50.100 --> 28:53.100 What we shot, we shot on a 16 millimeter.
28:53.100 --> 28:54.100 Aerie.
28:54.100 --> 28:57.100 Uh, my cinematographer was Vance Burberry.
28:57.100 --> 28:58.100 Amazing.
28:58.100 --> 29:00.100 Uh, great, great cinematographer.
29:00.100 --> 29:02.100 So we did 16 Aerie.
29:02.100 --> 29:13.100 We had the gun cam, which was a world war two, a military, uh, camera that they took into battle that you, my friend own that beautiful camera.
29:13.100 --> 29:14.100 I do.
29:14.100 --> 29:16.100 It's on display in my house.
29:16.100 --> 29:24.100 So we had the Aerie 16 millimeter camera for our general performance and our more polished footage.
29:24.100 --> 29:33.100 Uh, we had the gritty 16, uh, millimeter gun camera that took, uh, cartridges that slammed into the back of it and was powered with a battery belt.
29:33.100 --> 29:38.100 Uh, it was a very indestructible iron cast camera.
29:38.100 --> 29:52.100 Uh, you can see that best in the video when, uh, that grainy, grainy footage of Manson, uh, uh, walking outside of that industrial, uh, bay, uh, uh, block in downtown Los Angeles.
29:52.100 --> 29:54.100 It, it's just super gritty.
29:54.100 --> 29:57.100 That camera has always, always delivered for me.
29:57.100 --> 30:02.100 And it just really gave you that, uh, that world war two feeling to it.
30:02.100 --> 30:06.100 Actually world war one, I don't know how old it was, but it's old.
30:06.100 --> 30:10.100 It's very heavy just so everybody knows it's, it's very heavy.
30:10.100 --> 30:11.100 Yeah.
30:11.100 --> 30:12.100 Yeah.
30:12.100 --> 30:13.100 Yeah.
30:13.100 --> 30:20.100 The last element was the photographic stills I took on my Nikon, which were used for all the animation.
30:20.100 --> 30:23.100 And, uh, that isn't a standard Nikon.
30:23.100 --> 30:39.100 It was a Nikon F3, but I took the back off of it and I found that they made a back that fit on the Nikon F3 that took big, big, uh, spools of 35 millimeter film.
30:39.100 --> 30:44.100 But it would take 250 exposures.
30:44.100 --> 30:53.100 And, uh, then we sync it up later with my animator and, uh, I hand process it with rips and stains and all that stuff I do in the darkroom.
30:53.100 --> 30:57.100 Anyhow, that was, um, also my favorite thing to do was to do that stuff.
30:57.100 --> 30:59.100 And I mean, nobody, nobody was doing that.
30:59.100 --> 31:00.100 I was developing now.
31:00.100 --> 31:09.100 I was in developing, I mean, hundreds and hundreds of, uh, sequential photographs that had to get reanimated.
31:09.100 --> 31:11.100 And then it's like a flip book.
31:11.100 --> 31:20.100 If you ever flipped through, uh, one of the books and there's little sequential images in the corner of the book and it brings it to life like a movie.
31:20.100 --> 31:22.100 It's basically what a movie is.
31:22.100 --> 31:26.100 It's a sequence of, uh, still images all, all put together.
31:26.100 --> 31:28.100 Dean, that's really hard to do.
31:28.100 --> 31:29.100 It was satisfying though.
31:29.100 --> 31:31.100 Cause, uh, nobody was doing that.
31:31.100 --> 31:41.100 How we got that, uh, cool warped look on, uh, the opening of sweet dreams where it's all, he's, uh, looking all.
31:41.100 --> 31:45.100 Twisted in that little alcove in the, in the performance room.
31:45.100 --> 31:47.100 And there's a crickets crawling on his face.
31:47.100 --> 31:50.100 That was, uh, Vance.
31:50.100 --> 31:58.100 Vance, uh, had gone to an antique glass place and, uh, found a piece of antique glass is imperfect.
31:58.100 --> 32:06.100 So it's not, it's, uh, if you look through it and wave it in front of your eye, it's going to distort the image, warp it and stretch it.
32:06.100 --> 32:12.100 And he had a kind of big piece of glass and he had them cut out the very center piece.
32:12.100 --> 32:15.100 It was a four by four inch piece that we'd turn into a filter.
32:15.100 --> 32:19.100 We put it over the air reflex, hammer lens and it would look through that.
32:19.100 --> 32:21.100 And that's how we got that warpy look.
32:21.100 --> 32:22.100 Oh, here's another camera trick.
32:22.100 --> 32:25.100 We didn't have a very big budget.
32:25.100 --> 32:26.100 It was enough to do it.
32:26.100 --> 32:37.100 And it was, it's so cool when it's just enough to do it and to be able to go and shop and get cool stuff at the flea market and have screen on George make clock heads.
32:37.100 --> 32:41.100 But we couldn't afford a dolly for our camera.
32:41.100 --> 32:45.100 We had a jib arm at the main performance in the room so we could drop down.
32:45.100 --> 32:48.100 You have to have some dramatic things, but we couldn't afford a dolly.
32:48.100 --> 32:56.100 So Vance, our DP was driving to set and he passed a yard sale on the way to the shoot.
32:56.100 --> 33:07.100 And he stopped and paid $5 for a freaking wheelchair for us, for him to sit in holding the camera and his gaffer would push him in the wheelchair.
33:07.100 --> 33:18.100 And it would, it, uh, replace us needing to, to, uh, like when, when, uh, Manson's in the, in the tunnel and the feathers are all coming down and we push it to him.
33:18.100 --> 33:21.100 That was all done, done on a wheelchair.
33:21.100 --> 33:31.100 And I remember in the river when Manson was on his stilts, he, he, uh, he had the stilts, uh, as part of his live act.
33:31.100 --> 33:34.100 And he, he brought the, those to the table.
33:34.100 --> 33:42.100 I believe Vance, wore rollerblades to chase Manson around in the LA river.
33:42.100 --> 33:48.100 Cause Vance was a hockey player and I guess he, he practiced in rollerblades or something.
33:48.100 --> 33:49.100 I think that's what happened.
33:49.100 --> 33:51.100 Thank God we got that $5 wheelchair.
33:51.100 --> 33:53.100 Cause it, it was awesome.
33:53.100 --> 33:55.100 That is, I mean, it works the same.
33:55.100 --> 33:56.100 Yeah.
33:56.100 --> 34:02.100 Just trying to keep it smooth, you know, like the microphone completely destroyed in the video.
34:02.100 --> 34:12.100 And he definitely, uh, destroyed it at the end of the video when he goes out the church door and, and through the, uh, mic stand with the, uh, with the metal industrial net over it.
34:12.100 --> 34:15.100 That was inspired from blue velvet.
34:15.100 --> 34:19.100 That scene, the candy covered clown, they call it the stand man or whatever.
34:19.100 --> 34:23.100 Uh, I must've been watching blue velvet that week or something.
34:23.100 --> 34:26.100 But, uh, George, George made that, uh, for me also.
34:26.100 --> 34:27.100 George is a genius.
34:27.100 --> 34:29.100 Screaming man, George, I love you.
34:29.100 --> 34:31.100 He lives in Osaka, Japan now.
34:31.100 --> 34:33.100 And I sure miss him.
34:33.100 --> 34:36.100 He was just always fun to be eating burger with.
34:36.100 --> 34:38.100 He couldn't say eating a burger.
34:38.100 --> 34:43.100 He would always in his Japanese on the twang would say eating burger.
34:43.100 --> 34:48.100 Yeah, no, he did an amazing, amazing work.
34:48.100 --> 34:54.100 And he was also, I mean, we'll get into Antichrist, but he was also the makeup artist for Antichrist.
34:54.100 --> 34:56.100 He's done so much.
34:56.100 --> 34:57.100 Yeah.
34:57.100 --> 35:04.100 He, uh, helped me, uh, get the candles on all the band members' heads.
35:04.100 --> 35:13.100 When they were upstairs in the church, there was kind of that solemn scene with Manson in the foreground and everyone behind with the burning candles on their heads.
35:13.100 --> 35:15.100 Yes, those were really burning.
35:15.100 --> 35:18.100 But I think we did like double stick Velcro or something.
35:18.100 --> 35:21.100 And then, did some prosthetic to fix the seams.
35:21.100 --> 35:24.100 So it looked like they were growing out of their foreheads.
35:24.100 --> 35:28.100 And I think that was just symbolic of like sleep time.
35:28.100 --> 35:33.100 The candles just kind of reminded me, unless it was just a full on satanic mass or something.
35:33.100 --> 35:44.100 Yeah, we shot a lot of the performance at 48 frames, uh, which is how you get the slow, slow motion, uh, uh, uh, sink back.
35:44.100 --> 35:49.100 That everyone has to perform at double, double speed reality.
35:49.100 --> 35:52.100 And everyone has to play their instruments twice as fast.
35:52.100 --> 35:58.100 He has to, um, hit his, uh, his verses on, you know, we can edit around it.
35:58.100 --> 36:04.100 But if you're, if you do a really good job, which he did, he's the guy is such a pro.
36:04.100 --> 36:14.100 And, uh, it, it was like just refreshing to work with somebody so cool that had the same open mind as me and, uh, like to push the envelope.
36:14.100 --> 36:19.100 So was the chemistry between you guys immediate when you guys first met?
36:19.100 --> 36:20.100 Immediate.
36:20.100 --> 36:21.100 Okay.
36:21.100 --> 36:23.100 So what was Manson's work ethic like?
36:23.100 --> 36:27.100 No, no, no, no, no, I'm not coming out of my trailer.
36:27.100 --> 36:30.100 Like I've had so many, he was there for one reason.
36:30.100 --> 36:34.100 And that was to work his ass up and give the world what he gave the world.
36:34.100 --> 36:37.100 Cause he gave, he gave it all, man.
36:37.100 --> 36:38.100 Aw.
36:38.100 --> 36:39.100 Yeah.
36:39.100 --> 36:40.100 He really did.
36:40.100 --> 36:41.100 All the guys did.
36:41.100 --> 36:42.100 It was just exciting.
36:42.100 --> 36:43.100 We're all kids.
36:43.100 --> 36:52.100 And we made something so freaking cool that, you know, set the world on fire and took the band and me to the next level up the rock and roll ladder.
36:52.100 --> 36:59.100 You know, it was a big, uh, uh, graduation for himself and me to, uh, go to the next level, which we did.
36:59.100 --> 37:05.100 And I know that I could find a damn blue tutu.
37:05.100 --> 37:11.100 My girlfriend at the time, uh, Mary and I lived together and, uh, she just had it.
37:11.100 --> 37:13.100 It was sitting, sitting around.
37:13.100 --> 37:16.100 I couldn't believe it, but it fit him.
37:16.100 --> 37:20.100 And it just, it was, it was so wrong that it was right.
37:20.100 --> 37:21.100 And it was really old.
37:21.100 --> 37:22.100 It was so old.
37:22.100 --> 37:29.100 I think she and I, uh, need to meet up for a weekend and, uh, just scour, uh, her garage or something.
37:29.100 --> 37:32.100 Cause I know that she still has that somewhere.
37:32.100 --> 37:33.100 So did you just see that?
37:33.100 --> 37:36.100 And you were just like, this, this needs to go on Manson.
37:36.100 --> 37:42.100 I love putting together opposites, you know, if I'm doing, um, a scene that's cool.
37:42.100 --> 37:44.100 I like to have warm elements.
37:44.100 --> 37:46.100 Uh, opposites just always go together.
37:46.100 --> 37:47.100 Him and a tutu.
37:47.100 --> 37:48.100 It's just absurd.
37:48.100 --> 37:56.100 Absurd opposites in the, and I'm, I'm well on my way to making something great.
37:56.100 --> 37:57.100 That tutu was awesome.
37:57.100 --> 37:58.100 As was the bride's dress.
37:58.100 --> 38:03.100 I, I had got that like at a Goodwill, the bride's dress and veil.
38:03.100 --> 38:05.100 Uh, not even sure where those ended up.
38:05.100 --> 38:14.100 The tutu with the boots, I think kind of set a fashion trend because I can remember in the nineties seeing that more often after that.
38:14.100 --> 38:15.100 Yeah.
38:15.100 --> 38:16.100 Right.
38:16.100 --> 38:17.100 I do too.
38:17.100 --> 38:18.100 Yeah.
38:18.100 --> 38:21.100 Dean, were there any scenes that didn't make the final cut?
38:21.100 --> 38:24.100 There was, uh, one scene, there were a couple of scenes.
38:24.100 --> 38:30.100 There were a scene I did with a pink boa that he brought wearing a suit.
38:30.100 --> 38:34.100 Uh, and he was on his stomach crawling, you know, in the street in front of the church.
38:34.100 --> 38:39.100 I did some beautiful spills of it, but, uh, that did not make the cut.
38:39.100 --> 38:45.100 And I remember I didn't care for it in the cut in either cut.
38:45.100 --> 38:53.100 The scene I did really liked that got cut was a body painting sequence, which we did in the LA river.
38:53.100 --> 38:58.100 And I had him smear like yellow paint all over his whole body.
38:58.100 --> 39:08.100 And I, you know, my camera's locked off on a tripod and then just hitting the, the, you know, clicking exposures as he covers his whole body in yellow paint.
39:08.100 --> 39:14.100 And it was kind of like something you'd see on the electric company or, uh, Sesame street when you were a kid.
39:14.100 --> 39:17.100 It was like this really crude animation.
39:17.100 --> 39:20.100 And then he would, he would paint green paint on the top of the yellow.
39:20.100 --> 39:23.100 So he would, he, he painted himself.
39:23.100 --> 39:27.100 It's all like goofy stop motion, but it was super cute and cool.
39:27.100 --> 39:31.100 It went like from yellow to green, uh, to red, to black.
39:31.100 --> 39:35.100 And then, we kept them black to ride the pig.
39:35.100 --> 39:39.100 Temporal acrylic paint is what kids finger paint with in it.
39:39.100 --> 39:42.100 And it, uh, it cracks when it dries.
39:42.100 --> 39:49.100 And that was, uh, what we applied for the, when he wrote the pig, uh, with that cracked black paint.
39:49.100 --> 39:55.100 And, uh, I will discuss that more in detail when we get to Anna Curtis.
39:55.100 --> 39:56.100 Okay.
39:56.100 --> 40:02.100 And also what you're talking about with the green and yellow paint, you did just release some behind the scenes photos.
40:02.100 --> 40:03.100 And I did see that one.
40:03.100 --> 40:04.100 Yeah.
40:04.100 --> 40:05.100 It was cool.
40:05.100 --> 40:06.100 It was cool.
40:06.100 --> 40:09.100 I'm sure there's a bit of that body painting in the director's cut.
40:09.100 --> 40:11.100 I'm not sure that's what's going on.
40:11.100 --> 40:13.100 If anybody wants to know.
40:13.100 --> 40:21.100 After filming sweet dreams, did Manson inspire any of your filming decisions for any other videos that you made after that?
40:21.100 --> 40:24.100 Well, of course you did.
40:24.100 --> 40:39.100 Uh, I hadn't had the opportunity to show, you know, the, the video world that you can, uh, just push the envelope and there's no rules and, and a full creative, uh, freedom and expression.
40:39.100 --> 40:40.100 Yeah.
40:40.100 --> 40:44.100 It inspired me to continue doing that whenever possible.
40:44.100 --> 40:46.100 As I, as I continued to do that.
40:46.100 --> 40:47.100 Yeah.
40:47.100 --> 40:55.100 I was always remembering, you know, that, uh, wow, what a great opportunity to get to do, uh, whatever you want.
40:55.100 --> 41:07.100 And, uh, it hugely inspired me to continue being creative without any restraints and any, preconceived conditions and, uh, thinking that, that anything wasn't acceptable.
41:07.100 --> 41:12.100 It's, we, we loved the collaboration and pushing the envelope.
41:12.100 --> 41:13.100 Always.
41:13.100 --> 41:14.100 It's what we do.
41:15.100 --> 41:17.100 And you guys do it well together.
41:17.100 --> 41:18.100 Okay.
41:18.100 --> 41:21.100 So Dean sweet dreams is almost 30 years old now.
41:21.100 --> 41:23.100 How do you feel when you watch it today?
41:23.100 --> 41:26.100 And is there anything you would add or change?
41:26.100 --> 41:28.100 I just love it.
41:28.100 --> 41:29.100 I love it so much.
41:30.100 --> 41:32.100 It's my baby.
41:32.100 --> 41:36.100 So when sweet dreams was all done as with any video.
41:36.100 --> 41:42.100 We work with, we take it to a colorist, the telecine operator.
41:42.100 --> 41:46.100 And this was a very, very important job that this was done.
41:46.100 --> 41:50.100 I wanted desperately to work with a local guy.
41:50.100 --> 41:52.100 Uh, his name was Bo Leon.
41:52.100 --> 41:55.100 Bo Leon and I still remain in touch.
41:55.100 --> 42:01.100 And, uh, Bo just pushed, pushed it hard, man.
42:01.100 --> 42:06.100 We were, uh, uh, just doing innovative stuff with him.
42:06.100 --> 42:11.100 Once again, there, this was a time when there's not labels and managers in the room.
42:11.100 --> 42:17.100 Those positions trusted us to make this, this footage look as edgy as possible.
42:17.100 --> 42:19.100 And, and artistic as possible.
42:19.100 --> 42:21.100 It was always great working with Bo.
42:21.100 --> 42:24.100 We worked, uh, throughout the night and into the morning.
42:24.100 --> 42:30.100 And we were just watching this stuff, dial these colors in and just going, whoa.
42:30.100 --> 42:32.100 You know, it's not set to music yet.
42:32.100 --> 42:38.100 The editor sets into the music, but we're just looking at like you're seeing like your footage
42:38.100 --> 42:40.100 for the first time on the nicest screens in the world.
42:40.100 --> 42:43.100 And, uh, just, and things are happening.
42:43.100 --> 42:45.100 Footage is in slow motion.
42:45.100 --> 42:53.100 And, uh, you just, it's the first time you see what all your fruits of hard labor yielded.
42:53.100 --> 42:54.100 Yeah.
42:54.100 --> 42:57.100 Because film is so different than digital and stuff today.
42:57.100 --> 42:59.100 Do you still have to color digital?
42:59.100 --> 43:00.100 I do.
43:00.100 --> 43:01.100 I sure do.
43:01.100 --> 43:07.100 So it sounds like you guys had a lot of time to experiment.
43:07.100 --> 43:09.100 There's no like storyboards.
43:09.100 --> 43:10.100 It's not scripted.
43:10.100 --> 43:11.100 It's
43:11.100 --> 43:12.100 Oh, really?
43:12.100 --> 43:19.100 No, this is all just on the fly, impromptu creativity that happens at the moment.
43:19.100 --> 43:20.100 It happens.
43:20.100 --> 43:25.100 The beauty of it, I don't work so well with structure, but I understand you have to
43:25.100 --> 43:27.100 at least make a shot list.
43:27.100 --> 43:33.100 You know, maybe my shot list, uh, was like pig, pigeons in tunnel, uh, spooky pooper.
43:33.100 --> 43:39.100 I sit with my assistant director and he says, how long do you need for this budget?
43:39.100 --> 43:40.100 Like, Oh, I can do this.
43:40.100 --> 43:42.100 I can get this done in 45 minutes.
43:42.100 --> 43:44.100 I did the main performance room.
43:44.100 --> 43:51.100 If we kick ass and, you know, you know, once, once you get it, don't hang out and keep
43:51.100 --> 43:52.100 wasting time there.
43:52.100 --> 43:55.100 If you know, you got it, you know, you got it.
43:55.100 --> 44:00.100 Well, I know when I got it and, uh, I move on like, like lightning to get to the next
44:00.100 --> 44:01.100 thing.
44:01.100 --> 44:04.100 Cause I, I, I need all of my scenes checked off.
44:04.100 --> 44:06.100 I need, I need to get that, that done.
44:06.100 --> 44:16.100 Let's move on to Antichrist superstar album artwork.
44:16.100 --> 44:19.100 Now, how were you approached to do that?
44:19.100 --> 44:22.100 Because you guys just worked together on sweet dreams, music video.
44:22.100 --> 44:23.100 How did this come about?
44:23.100 --> 44:24.100 Talk to me.
44:24.100 --> 44:25.100 Yeah.
44:25.100 --> 44:28.100 We had just finished that and, uh, it was just a boom.
44:28.100 --> 44:35.100 It was the next, the very next thing he had, uh, coming, coming up was that album.
44:35.100 --> 44:42.100 So, you know, that was a kid, you know, like I mentioned, knew my, my work from beforehand
44:42.100 --> 44:46.100 as a photographer and had, uh, contacted me for sweet dreams.
44:46.100 --> 44:48.100 So, Hey, it's time to do some photography.
44:48.100 --> 44:51.100 So, um, yeah, he, he called me.
44:51.100 --> 44:56.100 That was in the, once again, you know, through Tony to Cordelia to, to me.
44:56.100 --> 45:06.100 Hey, we got to do this, uh, shoot and he's in, uh, New Orleans, um, working with Trent
45:06.100 --> 45:07.100 in the studio.
45:07.100 --> 45:08.100 Can you go down?
45:08.100 --> 45:14.100 We shot two days and I flew down with screaming, screaming at George and, uh, on the plane,
45:14.100 --> 45:16.100 we were eating burger.
45:16.100 --> 45:17.100 I love it.
45:17.100 --> 45:19.100 George got down there, set up camp.
45:19.100 --> 45:21.100 I can't really remember where we stayed.
45:21.100 --> 45:29.100 I I'm sure it was a hotel, but the band had rented, rented a house in the quarter.
45:29.100 --> 45:35.100 I remember going in there and he had that room, uh, the wall was painted red.
45:35.100 --> 45:41.100 And, uh, and I remember some, the landlord freaked out about it being, uh, painted red.
45:41.100 --> 45:45.100 And I think they lost their damage deposit or over that.
45:45.100 --> 45:50.100 So what we shot one day in the house, the band was, they were all living there.
45:50.100 --> 45:55.100 Uh, it was a band house and, uh, he had brought in the old barber chair.
45:55.100 --> 45:56.100 Any props on this?
45:56.100 --> 46:03.100 He, he had a, he had a very, very precise blueprint for this project.
46:03.100 --> 46:04.100 This was his baby.
46:04.100 --> 46:09.100 We spent, you know, a day in the studio listening to stuff and it was just awesome, man.
46:09.100 --> 46:10.100 Let's see that.
46:10.100 --> 46:12.100 And Trent's talking us through the stuff.
46:12.100 --> 46:14.100 And, it was just really cool to be there.
46:14.100 --> 46:15.100 What a great time.
46:15.100 --> 46:17.100 I had been in New Orleans.
46:17.100 --> 46:20.100 I loved it there and I was happy to go back there.
46:20.100 --> 46:23.100 So we did one day in the house.
46:23.100 --> 46:26.100 The red suit stuff, uh, was that day.
46:26.100 --> 46:30.100 And then we did one day in another burnt out location, like the church.
46:30.100 --> 46:35.100 But it was a, it was a burnt out two or three story house.
46:35.100 --> 46:39.100 He, he had found, uh, I don't think we permitted it.
46:39.100 --> 46:42.100 I think we just, uh, gorilla styled it.
46:42.100 --> 46:44.100 I love doing that.
46:44.100 --> 46:45.100 He found that awesome house.
46:45.100 --> 46:46.100 That house was great.
46:46.100 --> 46:49.100 And we shot him and Pogo and Twiggy.
46:49.100 --> 46:53.100 It was the three of them and talk about hitting it out of the park again.
46:53.100 --> 46:59.100 I mean, that, that was just a historical shoot on, on so many levels.
46:59.100 --> 47:05.100 So a lot of fans did ask, were you able to listen to the record beforehand?
47:05.100 --> 47:07.100 And you said yes, right?
47:07.100 --> 47:09.100 Well, not until I got there.
47:09.100 --> 47:12.100 This job had structure.
47:12.100 --> 47:21.100 This was specifically in one room at the house one day and around the burnt house specifically.
47:21.100 --> 47:25.100 He curated this entire shoot for what was important to him.
47:25.100 --> 47:31.100 With he, you know, he had written like his quadrophenia, like a rock opera.
47:31.100 --> 47:35.100 And I was so happy that I got to help him execute that.
47:35.100 --> 47:40.100 You know, the screaming at George blew everyone's mind with his prosthetics.
47:40.100 --> 47:45.100 And, uh, he had made the wings in LA and he had, he traveled with them.
47:45.100 --> 47:51.100 They were so fragile, like the skin between the, uh, the wings, uh, the skin that he airbrushed,
47:51.100 --> 47:56.100 all the, uh, sort of the, uh, butterfly colors and the spots and things.
47:56.100 --> 47:59.100 But it, it was just like a Saran wrap.
47:59.100 --> 48:04.100 Then it could have ripped and just been a really been a bad, bad, uh, moment for us.
48:04.100 --> 48:13.100 Uh, if it had torn before we got to use it, uh, I have no idea where those ended up, but, uh, I hope someone has them somewhere.
48:13.100 --> 48:25.100 If you have, if those wings are out there, why don't you get together with that tutu and that wedding dress and send me a signal of some sort.
48:25.100 --> 48:32.100 So Dean, you did talk about the worm boy that transitions into the anti-cry superstar.
48:32.100 --> 48:34.100 That was Manson's concept, obviously.
48:34.100 --> 48:36.100 And that's throughout his whole album.
48:36.100 --> 48:40.100 How did you feel about that concept when he talked to you about that?
48:40.100 --> 48:41.100 It was genius.
48:41.100 --> 48:50.100 I love, you know, anything to do with prosthetics and, uh, creatures and, you know, Manson had this specific idea.
48:50.100 --> 48:52.100 It was, it was great.
48:52.100 --> 48:57.100 George took the idea and, uh, did several rounds of illustrations.
48:57.100 --> 49:05.100 Uh, Paul Brown used one of George's illustrations and the packaging was sort of that, uh, Genesis type.
49:05.100 --> 49:11.100 Uh, uh, I guess it was more like a Leonardo da Vinci, uh, creation of man thing.
49:11.100 --> 49:18.100 It was like, it was used in the packaging, but, George did a lot of sketch, you know, though the worm and all that sort of stuff.
49:18.100 --> 49:24.100 The latex part of the worm was shipped down with us when we came in from LA.
49:24.100 --> 49:34.100 The wings brought that down and, uh, to see that applied and put on and once again, you know, commending Manson on his patience.
49:34.100 --> 49:37.100 I mean, that's, that takes hours and George works super fast.
49:37.100 --> 49:38.100 Okay.
49:38.100 --> 49:41.100 Now were there any major obstacles for this photo shoot?
49:41.100 --> 49:42.100 None.
49:42.100 --> 49:43.100 Wow.
49:43.100 --> 49:44.100 Okay.
49:44.100 --> 49:47.100 Now let's talk about Paul Brown, the graphic designer.
49:47.100 --> 49:48.100 Yep.
49:48.100 --> 49:50.100 So you took the pictures just so people can understand.
49:50.100 --> 50:01.100 You took the pictures and then you sent them over to Paul Brown, who was the graphic designer that kind of put all the pictures together and the packaging for the album.
50:01.100 --> 50:03.100 Can we talk about that a little bit?
50:03.100 --> 50:04.100 You bet.
50:04.100 --> 50:14.100 He and I had been friends for several years and his work is whenever and wherever it's applied is, is the best in the business.
50:14.100 --> 50:16.100 And we were so excited.
50:16.100 --> 50:17.100 He was doing it.
50:17.100 --> 50:23.100 Once again, it's like, uh, when you shoot the footage and you haven't seen it and tell us anybody get it.
50:23.100 --> 50:27.100 Like in sweet dreams, but you know, it's just going to be, be candy.
50:27.100 --> 50:33.100 You know, uh, we, we knew this photo shoot was going to be so damn epic.
50:33.100 --> 50:38.100 And, uh, you don't want to give your stuff over to someone who's a bad designer.
50:38.100 --> 50:39.100 I'll tell you that.
50:39.100 --> 50:40.100 I'll tell you that.
50:40.100 --> 50:41.100 No, you don't.
50:41.100 --> 50:42.100 Sure.
50:42.100 --> 50:43.100 Plenty of that.
50:43.100 --> 50:44.100 There's three designers.
50:44.100 --> 50:50.100 I can think of when my work goes into the hands of any of those three guys, I don't have a worry in the world.
50:50.100 --> 50:53.100 And, and I am not just blown away.
50:53.100 --> 50:57.100 I am blown out of this freaking world with what they do with it.
50:57.100 --> 51:00.100 It's just such a, such a art form.
51:00.100 --> 51:01.100 Yeah.
51:01.100 --> 51:02.100 Yeah.
51:02.100 --> 51:10.100 I feel like the, the graphic design work for that album, your pictures are incredible, but then he puts his spin on everything.
51:10.100 --> 51:11.100 You bet.
51:11.100 --> 51:12.100 You bet.
51:12.100 --> 51:13.100 He is, he is.
51:13.100 --> 51:20.100 As far as tonalities and contrast levels and things like that, he, he just dialed it in really, really nice.
51:20.100 --> 51:28.100 I mean, he, he's at the palette for what, what the, this and anything to do with this project was, was going to look like.
51:28.100 --> 51:30.100 And people expect it to look like that.
51:30.100 --> 51:37.100 So I keep that in mind when I'm making my, my artwork for collectors and things like that.
51:37.100 --> 51:38.100 Okay.
51:38.100 --> 51:42.100 Now, is there any meaning behind the half face shots?
51:42.100 --> 51:47.100 There's a half face shot of Manson in the front and in the back.
51:47.100 --> 51:53.100 Was that your call or did Paul Brown do that in the graphic designing?
51:53.100 --> 51:55.100 That's how I shot it.
51:55.100 --> 51:58.100 I had always done that.
51:58.100 --> 52:01.100 And I did that with tool in 92.
52:01.100 --> 52:06.100 Uh, I did that with Pantera in Puerto Rico years before the system.
52:06.100 --> 52:14.100 I really used to love like civil war portraiture and stuff where the, the subjects were always very rigid and they were tying exposures.
52:14.100 --> 52:21.100 The models couldn't move and they, they didn't especially do half faces, but they did a lot of posts of faces like that.
52:21.100 --> 52:29.100 And it was also sort of inspired by like, like mug shots that jail mug shots and stuff like that.
52:29.100 --> 52:31.100 Uh, it's very like clinical.
52:31.100 --> 52:32.100 Yes.
52:32.100 --> 52:42.100 And clinical is a good word because you know, I love anything to do with my, my medical devices or stainless steel stuff.
52:42.100 --> 52:52.100 And the prosthetic application for anything to do with the wings, uh, and, uh, creating the angel with scab wings.
52:52.100 --> 52:57.100 I can't tell you how many people write me weekly about how did you do that?
52:57.100 --> 53:11.100 Well, what we did, we wanted that cracked clay look on the outside, but we wanted it to look like it was like open source and maybe like bleeding or a muscular underneath.
53:11.100 --> 53:18.100 So we, covered him completely in red, uh, oil-based paint, which doesn't dry.
53:18.100 --> 53:25.100 And then put a white pampera paint on the outside, just a white acrylic paint, you know, finger painting stuff for kids.
53:25.100 --> 53:32.100 And, uh, and then we just had him flex and move and bend all his, uh, legs, knees, arms, elbows, hands, wrists.
53:32.100 --> 53:44.100 And it just, once it dries, it cracks it out, but the oil, red oil and it remained, uh, red and, and, uh, moist looking.
53:44.100 --> 53:46.100 So it looked like it was underneath.
53:46.100 --> 53:49.100 It was, you know, fresh wounds or something like that.
53:49.100 --> 53:51.100 So that's how we did it kids.
53:51.100 --> 53:55.100 Did Screaming Mad George, did he have to do like a trial and error of that?
53:55.100 --> 53:57.100 Or did he just know that that was going to work?
53:57.100 --> 53:59.100 He knew that was going to work.
53:59.100 --> 54:03.100 He had a, just a crazy studio in, uh, North Hollywood.
54:03.100 --> 54:06.100 It was so cool to go by there.
54:06.100 --> 54:09.100 You know, we'd take Ozzy there and cast Ozzy's head.
54:09.100 --> 54:12.100 We had to make eight molds of Ozzy's head.
54:12.100 --> 54:15.100 That was a, save that for another podcast.
54:15.100 --> 54:17.100 There's some crazy stories with that one.
54:17.100 --> 54:23.100 But his, his, uh, studio was, uh, a museum of all of his, uh, stuff through the years.
54:23.100 --> 54:25.100 And a lot of us, the stuff we did together.
54:25.100 --> 54:29.100 So, uh, that's the deal with the, the body, makeup, painting.
54:29.100 --> 54:30.100 Yeah.
54:30.100 --> 54:32.100 Kids love to do that at home.
54:32.100 --> 54:33.100 And they send me the pictures.
54:33.100 --> 54:35.100 I get pictures every week.
54:35.100 --> 54:40.100 The, the Manson kids, uh, I, I'm flattered that they send me that stuff.
54:40.100 --> 54:41.100 It's great.
54:41.100 --> 54:42.100 So keep them coming kids.
54:42.100 --> 54:43.100 Keep them coming.
54:43.100 --> 54:53.100 So Dean, did you know, or did you have any kind of feeling that you were conducting a photo shoot that was going to be the most groundbreaking and
54:53.100 --> 54:58.100 cultural artistic shift of the nineties?
54:58.100 --> 54:59.100 Jumping into work.
54:59.100 --> 55:02.100 You're just there to work and do the best job you can.
55:02.100 --> 55:06.100 And, uh, did I know it was going to be great?
55:06.100 --> 55:07.100 Hell yeah.
55:07.100 --> 55:08.100 I knew it was going to be great.
55:08.100 --> 55:17.100 Uh, but, uh, you know, when, once again, two, two awesome creative people get to get together and, uh, make something cool.
55:17.100 --> 55:24.100 And, uh, I liked that we started with a, a loose syllabus of creativity on the first project.
55:24.100 --> 55:29.100 And then this one, I appreciated that it was so well thought out instead of doing a bunch of crazy stuff.
55:29.100 --> 55:39.100 We just did a specific amount of very focused, finite explorations into the characters in that he developed.
55:39.100 --> 55:50.100 And then letting me bring the wacky focus and the cool ass, uh, dramatic lighting to bring the characters to life in that awesome, uh, moved out house.
55:50.100 --> 55:52.100 I don't think there was a spooky pooper there.
55:52.100 --> 55:56.100 I just, I just want to thank you because that album.
55:56.100 --> 56:01.100 I mean, that changed a lot of people's lives, you know, and like the imagery itself did.
56:01.100 --> 56:06.100 And I just want to thank you for going balls to the wall with that, not being afraid.
56:06.100 --> 56:08.360 Well, I say you both.
56:09.100 --> 56:17.100 I was just going to talk about the red and black suit and how many men I have seen since the nineties and the early two thousands.
56:17.100 --> 56:21.100 That was like their wedding palette color because of Manson.
56:21.100 --> 56:27.100 And I always wondered, was that something that he came up with?
56:27.100 --> 56:32.100 I was amazed once again, by the genius of this artist.
56:32.100 --> 56:37.100 He had thought it down to exactly what he was wearing and how he wanted to look.
56:37.100 --> 56:43.100 He, he knew it every bit about how he wanted to portray himself on this project.
56:43.100 --> 56:47.100 And, uh, and he did, did it fabulously.
56:47.100 --> 56:48.100 I'm happy.
56:48.100 --> 56:56.100 I was there to execute technically and, uh, bring the edge to it through my photography.
56:56.100 --> 57:07.100 Well, Dean, thank you for your artistry for that time, because that was, I mean, that was such a different, such a different era and things like that weren't popping up in record stores.
57:07.100 --> 57:14.100 And so when people saw that, it was like, you know, it was, it changed, it changed the world.
57:14.100 --> 57:21.100 So tell me how this happened.
57:21.100 --> 57:24.100 The revolver magazine shoot 2012.
57:24.100 --> 57:27.100 Revolver magazine, uh, contacted me.
57:27.100 --> 57:31.100 Uh, Jimmy Hubbard is my friend, uh, over there.
57:31.100 --> 57:38.100 And I got an email from Jimmy and he asked if, uh, I would like to do this shoot.
57:38.100 --> 57:40.100 And I was like, Oh my God, whatever.
57:40.100 --> 57:46.100 Uh, we hadn't done anything since, uh, since, uh, Annie Clarice.
57:46.100 --> 57:54.100 And, uh, I think it, it worked out that it was, I think it was our 20th reunion from Sweet Dreams or meeting each other.
57:54.100 --> 57:59.100 So it, it meant a lot and we shot that at my friend Klaus's house.
57:59.100 --> 58:01.100 Uh, Klaus sadly passed away last year.
58:01.100 --> 58:04.100 He had a house that was a cool ass house.
58:04.100 --> 58:05.100 It's all industrial.
58:05.100 --> 58:08.100 Uh, it was that old Castley home.
58:08.100 --> 58:12.100 It had an elevator in it and it was very like, I hate the word steampunk.
58:12.100 --> 58:14.100 Boy, do I hate that word, but it was that.
58:14.100 --> 58:15.100 And we shot there.
58:15.100 --> 58:17.100 It was just all buttons in sync.
58:17.100 --> 58:19.100 It was a great photo shoot.
58:19.100 --> 58:21.100 Don Ritz styled that.
58:21.100 --> 58:25.100 And, we had friend who designs suits of armor and stuff.
58:25.100 --> 58:27.100 And Tony made some stuff for us for that.
58:27.100 --> 58:30.100 It was, it was just a great, it was comfortable.
58:30.100 --> 58:32.100 It was in my friend's home.
58:32.100 --> 58:34.100 There was no time pressure.
58:34.100 --> 58:35.100 My assistant Ms.
58:35.100 --> 58:38.100 Hendrickson was super helpful on that.
58:38.100 --> 58:45.100 Um, and that was, uh, the first time we had shot together that I shot, uh, everything digital.
58:45.100 --> 58:46.100 And then it was for a magazine.
58:46.100 --> 58:49.100 Um, there's no budget.
58:49.100 --> 58:52.100 So I couldn't shoot film because who's going to pay for.
58:52.100 --> 58:53.100 Film it.
58:53.100 --> 58:54.100 Whatever 30 bucks a roll.
58:54.100 --> 58:58.100 If I'm shooting film, I'm shooting 35 rolls of film.
58:58.100 --> 59:07.100 Um, so I shot digital and, uh, Manson and I, I remember, uh, spending, um, good half a day up in my office.
59:07.100 --> 59:11.100 We were editing and dialing, uh, colors in and stuff.
59:11.100 --> 59:18.100 And he actually introduced me to a cool editing program that, uh, that I would have to use for many years after that.
59:18.100 --> 59:19.100 Okay.
59:19.100 --> 59:20.100 A lot of fans want to know this question.
59:20.100 --> 59:26.100 Do you and Manson have any future projects lined up or are you open to working with him on another project in the future?
59:26.100 --> 59:31.100 I would love to work with him, uh, under any circumstance or any budget.
59:31.100 --> 59:36.100 Two, uh, old friends can only do something great together again.
59:36.100 --> 59:37.100 Mm-hmm.
59:37.100 --> 59:38.100 So thank you, Dean.
59:38.100 --> 59:39.100 And you're being so humble about it.
59:39.100 --> 59:41.100 I am very humble these days.
59:41.100 --> 59:48.100 Uh, once again, it goes back to becoming sober two, two and a half years ago and checking the ego.
59:48.100 --> 59:53.100 I mean, it's like 30 years of everyone telling you how fucking great you are.
59:53.100 --> 59:56.100 And it's like, uh, shit goes to your head.
59:56.100 --> 01:00:02.100 And, uh, uh, through sobriety, it's like, uh, that was the first thing I was happy to get rid of that ego.
01:00:02.100 --> 01:00:05.100 And, uh, we are all just people, man.
01:00:05.100 --> 01:00:10.100 I love just the clarity that I have through sobriety.
01:00:10.100 --> 01:00:17.100 And it's, it's just been a incredible weight up my shoulders and it's helping me creatively.
01:00:17.100 --> 01:00:24.100 I'm going in and opening these boxes of negatives from whatever ACDC, Stevie Nicks, Iron Maiden,
01:00:24.100 --> 01:00:34.100 all of these, these sessions that I've done for 30 years and always thinking it was A, B or C out of like 65 rolls of film,
01:00:34.100 --> 01:00:37.100 which is, I don't know, 3000 images.
01:00:37.100 --> 01:00:44.100 And just living with predominantly running my photo gallery these days and making these archive gallery photographs
01:00:44.100 --> 01:00:47.100 available to the fans of all the bands I work with.
01:00:47.100 --> 01:00:54.100 But I'm now going back that I can see straight and having the patience to look at the 35 millimeter proof sheets,
01:00:54.100 --> 01:00:56.100 which I never looked at before.
01:00:56.100 --> 01:01:01.100 I was too lazy to like go in with a loop and critically put my eye on every single frame.
01:01:01.100 --> 01:01:08.100 I'm talking all, all this stuff, you know, Lincoln Park, Slipknot, Godsmack, Slayer.
01:01:08.100 --> 01:01:16.100 You know, the collection is huge, but I'm going in and I'm finding stuff that is like 10 times better
01:01:16.100 --> 01:01:21.100 than what I thought for 25 years was the best shots from these sessions.
01:01:21.100 --> 01:01:28.100 And I just grateful I have this newfound clarity and I'm putting my emphasis on my archive gallery
01:01:28.100 --> 01:01:37.100 versus pursuing productions in this stagnant, dead, horrible industry of music videos that I had to bend.
01:01:37.100 --> 01:01:44.100 And I was doing that for, I don't know, eight years and dealing with these shit budgets and clients
01:01:44.100 --> 01:01:49.100 wanting about $4,000 when it's like we have nothing to spend.
01:01:49.100 --> 01:01:56.100 And I'm glad I made the commitment to just be pursuing my career that I spent 30 years building.
01:01:56.100 --> 01:02:03.100 I'm back doing my 3D sculptural stuff, doing one off original pieces.
01:02:03.100 --> 01:02:11.100 I'll be doing quite a bit of those in the, and I'm just like this month getting back into doing one of a kind pieces like that
01:02:11.100 --> 01:02:14.100 with the resins and the oil paints and hash broken glass.
01:02:14.100 --> 01:02:17.100 I'm excited to be doing that.
01:02:17.100 --> 01:02:22.100 I was working on some of that this morning, but through the whole sobriety process, Manson, my God,
01:02:22.100 --> 01:02:25.100 he was so good, good checking in on me.
01:02:25.100 --> 01:02:29.100 He was a year ahead of when I, when I jumped in, I'm two and a half years now.
01:02:29.100 --> 01:02:34.100 And when I first started, I was like two months into the program and he would,
01:02:34.100 --> 01:02:37.100 he would check on me and see if I was doing okay.
01:02:37.100 --> 01:02:39.100 And I just can't thank him enough for that.
01:02:39.100 --> 01:02:43.100 It meant so much to me that he was checking in on me.
01:02:43.100 --> 01:02:44.100 He's a good guy.
01:02:44.100 --> 01:02:45.100 He's a good guy.
01:02:45.100 --> 01:02:46.100 He's a great guy.
01:02:46.100 --> 01:02:48.100 He's so in shape now.
01:02:48.100 --> 01:02:52.100 I caught the, the off offshoot though in Tacoma, Washington.
01:02:52.100 --> 01:02:58.100 Oh, I don't know, two months ago, a tiny theater, 1600 cheater.
01:02:58.100 --> 01:03:01.100 He took a break from the big arena thing.
01:03:01.100 --> 01:03:05.100 He was doing with five finger death punch and did a really special thing for the fans, man.
01:03:05.100 --> 01:03:06.100 It was 1600 people.
01:03:06.100 --> 01:03:10.100 And it was a, it was just a fierce performance.
01:03:10.100 --> 01:03:13.100 And I hadn't seen him live in a long time.
01:03:13.100 --> 01:03:17.100 He, he just looks a million bucks and it's a new guy.
01:03:17.100 --> 01:03:19.100 He's content and taking care of himself.
01:03:19.100 --> 01:03:20.100 And I like this guy a lot.
01:03:20.100 --> 01:03:21.100 I like this guy a lot.
01:03:21.100 --> 01:03:24.100 I'm sure the feeling is mutual Dean.
01:03:24.100 --> 01:03:25.100 I'm sure he loves you too.
01:03:25.100 --> 01:03:26.100 I just love it.
01:03:26.100 --> 01:03:28.100 Anytime I can see him excelling.
01:03:28.100 --> 01:03:30.100 Nobody deserves it more than he does.
01:03:30.100 --> 01:03:37.100 I think that a video with you two would be pretty groundbreaking at this point, just
01:03:37.100 --> 01:03:42.100 because you two always liked to push the envelope and that just doesn't happen anymore.
01:03:42.100 --> 01:03:49.100 I don't feel like, and I mean, if he's open to it, I just think that would be fire.
01:03:49.100 --> 01:03:52.100 Just absolute fire, especially with the new album.
01:03:52.100 --> 01:03:54.100 Well, I know he's excited to listen to this.
01:03:54.100 --> 01:03:55.100 So thank you, Dean.
01:03:55.100 --> 01:03:56.100 You are the best.
01:03:56.100 --> 01:04:01.100 And thank you so much for taking the time to do this.
01:04:01.100 --> 01:04:02.100 All right.
01:04:02.100 --> 01:04:14.100 Well, thank you guys for listening to this very special Manson podcast episode with Dean Carr.
01:04:14.100 --> 01:04:16.100 I mean, you can't get any better than Dean.
01:04:16.100 --> 01:04:28.100 No, not no, you will not get any better than Dean Carr talking about the Sweet Dreams video and the amazing photography for Anerkrass Superstar.
01:04:28.100 --> 01:04:30.100 That is groundbreaking.
01:04:30.100 --> 01:04:33.100 Not that everybody doesn't already know that.
01:04:33.100 --> 01:04:39.100 We know that everybody knows that, but at least it's all in one compiled interview here.
01:04:39.100 --> 01:04:40.100 Exactly.
01:04:40.100 --> 01:04:51.100 I also want to remind everyone that you can contact Dean on Facebook at, you just find his name, Dean Carr, K-A-R-R.
01:04:51.100 --> 01:04:57.100 You can also find him on Instagram at Dean Carr Photography, all one word.
01:04:57.100 --> 01:05:02.100 And you can also email him at granfingerataol.com.
01:05:02.100 --> 01:05:07.100 G-R-A-N-F-I-N-G-E-R.
01:05:07.100 --> 01:05:11.100 He makes daily posts about what he has going on.
01:05:11.100 --> 01:05:12.100 He has behind the scenes.
01:05:12.100 --> 01:05:16.100 I mean, he has a lot going on and they are tangible.
01:05:16.100 --> 01:05:17.100 You can buy them.
01:05:17.100 --> 01:05:19.100 There's stuff that you can buy.
01:05:19.100 --> 01:05:21.100 It's not just stuff you can look at online.
01:05:21.100 --> 01:05:22.100 You know what I mean?
01:05:22.100 --> 01:05:25.100 Like you can have some of these images in your home.
01:05:25.100 --> 01:05:29.100 So let's help Dean out because that's basically all he's doing now.
01:05:29.100 --> 01:05:31.100 He's not really doing anything with music videos anymore.
01:05:31.100 --> 01:05:36.100 Unless, you know, the money is right because there's no money in music videos anymore.
01:05:36.100 --> 01:05:37.100 Which is so sad.
01:05:37.100 --> 01:05:48.100 I just miss that element of being able to sit down and watch the beauty of a really good music video.
01:05:48.100 --> 01:05:50.100 I mean, I don't know when this is going to air.
01:05:50.100 --> 01:05:54.100 One Assassination Under God Chapter One might already be out by the time this airs.
01:05:54.100 --> 01:05:55.100 Probably.
01:05:55.100 --> 01:05:57.100 But if you haven't bought it, go out and buy it.
01:05:57.100 --> 01:06:01.100 And I'm pretty sure our next episode is going to be discussing the new album.
01:06:01.100 --> 01:06:02.100 Correct, Jenna?
01:06:02.100 --> 01:06:03.100 Probably, right?
01:06:03.100 --> 01:06:04.100 Yes.
01:06:04.100 --> 01:06:09.100 Guys, thank you so much for listening to Episode 2 of the Manson Podcast.
01:06:09.100 --> 01:06:13.100 You can find our podcast on Instagram at Manson Podcast.
01:06:13.100 --> 01:06:18.100 You can find me on Instagram at Alex.Sinclair.
01:06:18.100 --> 01:06:23.100 And you can find me on Instagram at JennaXArkansas.
01:06:23.100 --> 01:06:26.100 Thank you guys again for listening and we will see you on the next episode.
01:06:26.100 --> 01:06:27.100 Bye.
01:06:27.100 --> 01:06:28.100 Bye.
01:06:28.100 --> 01:06:29.100 Bye.
01:06:29.100 --> 01:06:30.100 Bye.
01:06:30.100 --> 01:06:31.100 Bye.
01:06:34.100 --> 01:06:35.100 Bye.
01:07:04.100 --> 01:07:05.100 Bye.
01:07:34.100 --> 01:07:35.100 Bye.
01:08:04.100 --> 01:08:05.100 Bye.
01:08:34.100 --> 01:08:35.100 Bye.
01:09:04.100 --> 01:09:05.100 Bye.
01:09:34.100 --> 01:09:35.100 Bye.
01:10:04.100 --> 01:10:05.100 Bye.
01:10:34.100 --> 01:10:35.100 Bye.
01:10:35.100 --> 01:10:36.100 Bye.
01:10:36.100 --> 01:10:37.100 Bye.
01:10:37.100 --> 01:10:39.100 Bye.
01:10:39.100 --> 01:10:40.100 Bye.
01:10:40.100 --> 01:10:41.100 Bye.
01:10:41.100 --> 01:10:42.100 Bye.
01:10:42.100 --> 01:10:44.100 Bye.
01:10:44.100 --> 01:10:52.100 Bye.
