Monthly Archives: January 2013

The Things We Have to Do Around Here to Finish a Scene – Part III – Conclusion Part 1

There we were a couple weekends ago in January, finishing up a scene we had started shooting a year and a half earlier with the very awesome Jessica Cameron.  Due to some weather weirdness, the temperature had warmed up to the 60’s, though the overcast nasty winter deadness was still a stark contrast to the vibrantly sunny and oppressively hot July day we had shot Jessica’s scenes on.

January 12, 2013:  Tyler begs for his life as Stephan considers the ramifications of returning to the compund having not met his quota.

January 12, 2013: Tyler begs for his life as Stephan considers the ramifications of returning to the compound having not met his quota.

The shots we were doing this day were of a character named Tom and his half of a conversation with Jessica’s character.  Tom had been written as a good-natured perverted hunter and gradually, by the time of this shoot, developed into a vile despicable meth addicted perverted gun-bastard, in part, because the professionally trained actor we cast in the role reminded me of Jack Elam, and the more awful Jack Elam gets, the more fun he is.  

But there was no one on set who looked like Jack Elam on that that abnormally warm day in early 2013.  Instead, the character was being performed by Steve Grothaus, our lighting director, (whose previous on-camera work included a bad experience on a film he refers to only as “that accursed thing.”)   Steve didn’t look anything like Jack Elam.  William Fichtner, perhaps. (Whom many of you, no doubt, recognize as “that one guy” from that thing.)  I’ll even accept Steve Carell.  But not Jack Elam.

The 3 Faces of Tom the Meth Addicted Perverted Gun-toting Bastard.  From left to right, William Fichtner, Steve Grothaus,  and Jack Elam.

The 3 Faces of Tom the Meth Addicted Perverted Gun-Bastard. From left to right, William Fichtner, Steve Grothaus, and Jack Elam.  The condom hat on Steve Grothaus has been digitally added for effect.  Wait…  that can’t be right…

To understand the how Steve found himself in this predicament, we need to go back to November 2011 as we were planning to finish the opening teaser scene we had begun shooting with only half the actors in 2009.  Jack Elam Guy had now joined the cast as Tom, and my cousin, Adam Stigler, took the other male role, a character who had been quite ingeniously been given the name “Adam.”

But we still needed a young attractive female who could scream her head off.  Dennis insisted on this because all the other horror movies have young attractive females screaming their heads off and he didn’t want our film to get picked on by the other films.  This was quite a difficult challenge for us, because despite a few exceptions, no girls would hang out with us.

The screaming was critical, because the scene needed to be intense, and as I had learned during the making of my emotionally sterile short film, The Projection Booth, it’s not the ghosts and monsters that makes horror movies scary as much as the reactions of the actors.  William Hurt dressed as a Skeksis isn’t scary.  But M. Night Shyamalan’s The Village creeped me out because Bryce Dallas Howard’s emotion-tricks fooled me into thinking that something scary was happening.

Yeah something scary was happening!  That a major studio would greenlight this turd!  Shut up.  I liked it.

Yeah something scary was happening! A major studio actually greenlit this turd!  Shut up, assface.  I liked it.

In the footage of our opening scene we already had shot, Erin Myers (who plays the other female character in the scene) and I initially went for intense but settled on a much more subdued performance because we felt that this particular character would react to this situation with more of an almost stoic shock and also that it was really the only way to get her to make scared faces where she wouldn’t immediately start laughing uncontrollably.

The lack of emotional displays in this film wasn’t a problem unique to Erin.  Our cast and crew is mostly family and friends.   Everyone I’m related to has the same inability to express any sort of normal-people feelings and, naturally, anyone we choose to hang out with isn’t gonna be one of those sensitive people with emotions.  Ew.  They cry all the time, and I never know whether I’m supposed to hug them or pat them on the head or something.

For instance, on the day we were shooting his death scene (oh yeah, spoiler or something) actor/scientist Matt Funke came to me to express his concern over the scene, saying “I don’t really emote.”

“No shit,” is what I thought in my head, but I think it came out something like, “I know.”

Matt Funke in a moment of intense James Dean brooding on set while gleeful family members Stephan and Max frolic nearby.  I suspect behind that tough, roguish exterior, is the heart and soul of a poet and a deep desire to be  the one with the cuddle buddy.  I.  SUSPECT. WRONG.  (Note the empty space in the upper left corner symbolizing the empty void of his heart.

Matt Funke in a moment of intense on-set James Dean brooding as gleeful family members Stephan and Max frolic nearby. I suspect behind that tough exterior is a deep desire to be the one with the cuddle buddy.  I. SUSPECT. WRONG.

In the scene, the Grassman has our heroes cornered and is slowly closing in on them.  Matt suggested we shoot the scene this way:

Matt:  Don’t worry, guys.  I got this.

Matt walks off screen.   A second later, his companions are splashed from head to toe with his blood.

I hesitate to admit this, but I actually ran it by Dennis, who obviously shot it down.  Not that I thought we should do it, but I didn’t have the strength to resist such Solid Gold Jokes and I preferred that he do it for me.  I do love The Jokes.  Oh, how well I love The Jokes. So, for this emotionally charged opening scene, I needed to find someone who not only didn’t have Meyer blood, but never hangs out with me.

Years ago,there was this thing I guess was somewhat like of like our modern Facebook.  Naturally, we didn’t have the technology back then that we do now, so it was primitive by today’s standards, though it served it’s purpose.  It was called “MeTime” or “MyTime” or “MySpace” or something.  No one really remembers what it was called, but what’s important is that this is were I first became aware of Rachel Scott.  There was this video floating around “MyWorld” or whatever it was that was produced by M.A.R.S. Productions, a company consisting of Rachel and her mother and sister.  It was a parody of The Shining starring Jason Hawes and Grant Wilson from the reality tv series Ghost Hunters.

 

I LOVED them Ghost Hunters!  The first two seasons of that show are a television classic.  I Love Lucy is awesome, but it ain’t got NOTHIN on them Ghost Hunters – Roto Rooter plumbers by day that suit up at night and take to the shadows as paranormal investigators.  In that regard, it’s a lot like Batman, but Batman never had a dude named Brian that he would constantly yell at.  Or a dude named Andy that you suspected the others secretly hated.  Or twin brother demonologists!  WHAT?!!!  Oh, yes.  You heard right.

Me and Grant Wilson & Jason Hawes - Ghost Hunters.  If you look closely, you can see me kind of at an angle, I guess, sort of in the opposite direction that the camera is pointed in.

Me and Grant Wilson & Jason Hawes – Ghost Hunters. If you look closely, you can see me kind of at an angle, I guess, sort of in the opposite direction that the camera is pointed in.

So, here were these teenage girls who did a short with my favorite tv characters (who just happened, in this case, to be real guys).  I checked out the other videos on their “MayYou” page and I remember seeing that they had done a number of ambitious shorts, one of which had gotten into DragonCon in Atlanta around the same time as our film The Projection Booth was rejected by it.   If I remember correctly, they had also done some interviews with some of the scifi/fantasy celebrities.  I found it all very impressive.  Remember, when I was their age, my films looked like this:

Joe Maurits in The Space Invader, circa 1991.  Boy did this one suck.

Joe Maurits in The Space Traveler (1990). This is when the magical sword Excalibur flies into his hand, just before he beheads an extraterrestrial visitor.  Every time I see this, it feels as though it is my heart who is beheaded.

And even after many many years of experience, at the time I came across their “ManFace” page,  we had only recently upgraded to this:

The heart wipe was meant to be ironic.

The heart wipe was meant to be ironic.

So, 4 years later, when I was looking for an actress, I thought back to the girl in the Shining parody, and I remembered her screaming.  A lot.  That was Rachel Scott.  If you didn’t watch the clip, go ahead and check it out.  I’ll wait.  Make sure you skip ahead to the screaming part.  I don’t want to wait too long.  I have six other blogs to write after this.

I got in touch with her online and asked if she was interested and offered to pay her for her time…  which was going to be awkward, cause we weren’t paying the other guy, the professionally trained Jack Elam look-a-like.  In fact, we never paid anyone except our “guest stars” who had recognizable names.  In this case, though, we were running out of time and desperately needed someone.  And she was perfect.

This act directly and brazenly violates Robert Rodriguez‘s no-budget filmmaking advice to never spend  any money ever.  He clearly knows what he’s talking about.  But I took into consideration the advice of another filmmaker, me, when he said, “Spend a bunch of damn money and you’ll be less stressed out.”  Sometimes, I do that instead.

This is the single most important text for low budget filmmakers I've ever read.  Also the only one.  But hopefully that gives you an idea how important it is.

The single most important text for low budget filmmakers I’ve ever read. Also the only one. But hopefully that gives you an idea how important it is.

Plus, there’s this new phenomenon I really had just discovered for the first time that year, in 2011, where when you don’t get the actor you wanted for a role it sucks.  And, conversely, it’s really awesome when you do get them.   I never experienced this prior to then because I always just got my brothers or nephews to do it.  Except for maybe the one time when we were kids and my sister Justine decided she didn’t want to do the movie I wrote and had been planning to shoot forever because she instead decided she had to watch a Frank Sinatra  special because NKOTB’s “Joey Joe” said Frank Sinatra was “totally old school dope.”

So I knew Rachel Scott was the right person for the job and I wanted make sure I got her.  But would she do it?  And what would Jack Elam Guy say when he found out she was paid and he wasn’t?  What would the rest of the cast say if some idiot ever wrote a blog about this and they found out about it?  And why is it we never talk about Steve Grothaus in this series about Steve Grothaus?

Part 2 of the thrilling conclusion to part 1 of the the thrilling conclusion to the three part saga is coming next week!  Stay tuned!

-Tyler

I still hate these movie-ruining sons of bitches.

I still hate these movie-ruining sons of bitches.

The Beginning: Part 2 of 2 – That’s not a Bigfoot movie. THIS is a Bigfoot movie.

This Tyler/Dennis alternating posting may be a bit confusing, so allow me to quickly recap. When we last left off, the Meyer Bros has decided that it was time to make a feature length film. While that is the first step of making any feature, without an idea it’s kind of useless. We had a script we were eager to do, but were convinced it was too scary and expensive of an undertaking for us. So, we brainstormed separately for 30 days, with achievable feature film criteria, and returned with our ideas. Tyler’s brainstorming led to no ideas. My brainstorm led to numerous recycled past ideas, unfinished concepts, and one with potential. Well, potential like a lump of coal has potential to be a diamond. That lump of coal was…

…a Bigfoot movie.

Sounds simple enough, right? You get a guy in a furry suit, a bunch of young hot college age victims, some creepy back woods types, and a forest to shoot in. Piece of cake.

Well, not exactly. Although, it is kind of where we started: we both agreed that we don’t want to make that film. Not that we didn’t consider it. But, whenever we go down that “this is how they do it” and “this is what’s on the shelves at Blockbuster” we both wind up with a bad taste in our mouths. So, we just had figure out what we did want to make.

Sometimes, I talk to the Skull and complain to him about Tyler. The Skull is the only one that understands.

Sometimes, I talk to the Skull and complain to him about Tyler. The Skull is the only one that understands.

Now, over the years, Tyler and I have discussed doing a Bigfoot film numerous times. I could be wrong, but I felt that if Tyler had a bucket list of movies to make, a Bigfoot movie would definitely be on that list. I knew he had a tremendous interest in doing it, which is why it was my ace in the hole on my list. But, after talking about it so many times, I knew that we had never agreed on what that would be.

And this time was no different. I tossed out ideas, but Tyler shot them all down.

“Okay,” I said. “You don’t like anything we’re talking about here.”

“Not really,” he said.

“Well, since this has been your passion project for as long as I can remember, why don’t you tell me what you want in a bigfoot film.”

“Hmmm… how about a Bigfoot movie without a Bigfoot?”

What the hell? We talked about it for a long evening, but I still didn’t get it. We adjourned and Tyler went off to outline his idea. He came back with a six-point outline, a logline, and… that’s it. We talked about it, as I tried to get into the Tyler headspace. This is what have to do, because the two of us never start off on the same wave length. It’s normally up to me to try my damnedest to figure out where he’s coming from and translate it into a script that both recognizes his vision and maintains my character focused sensibilities.

raiders

So, I took notes from our talk and this 6 point outline and went off for a couple weeks and expanded on the outline. I came back with a several page, 95-point outline of what I still feel was a decent, dark, terrifying potential film.One of the things that I did in outlining was to break it into a series of events, like serial breakdown of the story for Raiders of the Lost Ark that Lucas, Spielberg and Kasdan speak about in their now infamous Raider Story Conference Transcript from 1978. Tyler and I were fascinated with that. I still read it from time to time. I like to think that our meetings are like that, but with less clout and more dick jokes.

Anyway, Tyler dug the idea, but… it was extremely grim, darker than anything we’d ever done. I felt dirty after reading through it with him. This idea met all of the requirements we had set, but it was a real downer. We began to refer to it as Bigfoot Fuckers, at least I did. After talking, even though we liked Bigfoot Fuckers, it was not exactly what we wanted after spending years on other dark projects (The Projection Booth and Consumed).

[NOTE: I would love to share the Tyler outline vs Dennis outline, so you can have a better idea of where I start and what I wind up turning it into. But Bigfoot Fuckers is actually still one of those back burner ideas that may, after some tweaking, find its way a Monkey Prod greenlight. So, I can’t share it, as much as I want to. Sorry.]

Myth and the Movies – good book

I should point out that during this time, I was toying with the idea of reviving some old writing of mine and retooling it into a novel. Over the course of working with my characters and world I was creating, I became interested in trying my hand at the Joseph Campbell’s Hero’s Journey. I had all the requisite books and was studying all of the novels and films that I loved and trying to identify the journey archetypes and events in them. I was fascinated by one book in particular called Myth and the Movies: Discovering the Myth Structure of 50 Unforgettable Films by Stuart Voytilla. It broke down 50 popular films, organized by genre, into their mythic structures.

As we were going over the outline, and how this film may not work for us, something clicked in my head. I remembered going through the section in Voytilla’s book on The Mythic Structure of Horror. One film in particular suddenly made sense as the way to go with a Bigfoot movie. It was an overdone as hell premise to steal from; but, I would not be copying the story, merely using the mythic model as the launching point. I talked Tyler into not giving up on this just yet, but to give me a shot at the outline. I was excited, but I didn’t want to tell him anymore because it would come across as really stupid at this point. And I’d never overcome that first impression.

So, off I went for another two weeks or so where I took the mythic structure of a popular horror film from our youth and started to take some of the elements of Bigfoot Fuckers that I really liked and put them into the structure. I kept the serial nature of the story as well, making it event or tent-pole driven; the campground, the cave, the farmhouse, etc. I put all these elements into the structure of the Hero’s Journey.

When it was done I presented to Tyler a twenty-point, high-level, but still somewhat detailed, outline that had a sense of familiarity and comfort about it that I think is what won him over. It felt like a 70s horror film because it was based on one, and I finally revealed which: motherF’n Jaws. It made perfect sense that the starting point for us to make a non-dark, exciting, horror adventure along the lines of what we grew up watching was to use the best of that as a model. The hero’s journey gave us a story model that made sense and we could both identify with. It had the classic feel that Tyler enjoys, and had the potential for character development I look for. It was not perfect yet, but it was exciting to both of us.

Making script notes. By hand, because that's how I roll.

Making script notes. By hand, because that’s how I roll.

It was at this point that Tyler was fully on board. He saw potential in the idea and was excited about the concept of making an homage to the 70s era monster/horror movie. I made some more notes from his input and the went into hiding.  I took the next 5 months to write the first draft as Tyler began to figure out exactly how we could go about filming anything, much less a bigfoot film, on an out-of-pocket budget. I delivered the first draft of the script around Christmas time to the Tyler and he loved it, and to the Monkey Productions inner circle shortly after. It was exciting to watch everyone, especially Tyler, get pumped up over a project again, even one as seemingly impossible as this.

Although, it was the first of four drafts, it was enough: Monkey Productions was officially making a Bigfoot movie, our first feature length motion picture. HOLY. SHIT.

Enhanced by Zemanta

The Things We Have to Go Through Around Here to Finish a Scene – Part II

In summer of 2011, we had just finished our shoot with Jessica Cameron, having shot around the not-yet-cast role of Tom the hunter pervert.  She was just the second real-life professional actress person we had worked with on the film, and we were pretty pleased with ourselves.  But we could never have predicted that this would eventually lead to Steve Grothaus, our lighting director, sitting outside in a pile of firewood a year and a half later in the middle of January pretending to be a meth addicted barn owner.

To entice him to do the role, I let him wear my sweet adventure hat. You can pick up one of these babies at most of the Walt Disney World Theme Parks (Magic Kingdom and Animal Kingdom definitely have it.  It is far too cool for Epcot.)  It's pretty much THE hat for vacationing adventurers.

To entice him to do the role, I let him wear my sweet adventure hat. You can pick up one of these babies at most of the Walt Disney World Theme Parks (Magic Kingdom and Animal Kingdom definitely have them. It is far too cool for Epcot.) It’s pretty much THE hat for vacationing adventurers.

You see, Steve Grothaus isn’t an actor, and like a lot of people who work behind the camera, he doesn’t like being in front of it.  Years ago, while helping me on a college film, Steve glared the Grothaus Death Glare at me because my wide shot of him walking way the hell down the street wasn’t wide enough.  And then there was the time he was working on the crew of the 1995 film A Reason to Believe with Holly Marie Combs and The Boy Who Could Fly, and they found themselves short an actor.  What happened next is not a cherished memory of Steve’s.

To this day, he has no concept of how cool this is.

Steve as “Condom Boy.” The filmmakers apparently had this great hat but no actor to wear it.  I have always been jealous of him because of this and he still has no idea why.

That hat I gave him to wear was a lot less of a…  what’s the word…  “condom-shaped buffoon helmet”, I guess is the phrase I’m looking for.  Still, why would I, who claims to be his friend, put him in this horrible position again?  And why wait a year and a half and do it in bitter cold of January? He was actually on set taking stills when we shot the scene with Jessica so I could have easily added him to the scene then.  But at the time, I was hoping to fill the role with an actor in a cameo appearance.

As we mention any time we get a chance, our film is an homage to the classic Bigfoot films television shows we grew up with, and I was hoping to find actor who had been in one of those productions to play the role of Tom the perverted hunter.  I searched for a few different Sasquatchploitation celebrities and ultimately ended up approaching a guy named Joseph Butcher that I thought looked like Joseph Butcher from Bigfoot and Wildboy (he wasn’t), and Joshua Rudoy, who played the little boy in Harry and the Hendersons (who unfortunately didn’t get my message until it was too late.  He didn’t say whether or not he would have done it, but it would have been AWESOME.)

He would have made a GREAT Tom the perverted hunter.

He would have made a GREAT Tom the perverted hunter.

As I was getting nowhere in my search, Dennis suggested a guy he knew and, since this guy hadn’t been in any Bigfoot movies, I was reluctant to agree – But I eventually did.  In the meantime, we had added this character to the opening teaser scene of the film, and had transformed Tom the hunter pervert into Tom the meth addicted hunter pervert.  I don’t remember why – it may have been to make the role more appealing to the new actor.  What do remember is that the worse Tom got as a human being, the more I became enamored with the character.  It helped that I thought our actor looked like a young Jack Elam, who had played a minor role (with top billing) in The Creature from Black Lake, one of my favorite Bigfoot films.  So I was really looking forward to shooting these two scenes with this gun-toting meth addicted pervert who looked like Jack Elam.

And then I go on to become one of the most beloved characters in Western folklore.

And then I go on to become one of the most beloved characters in Sasquatch folklore.

But long before we ever added this awful person to our opening teaser scene, we had started shooting it.  It was November 2009, the first year of production.  We had planned to finish shooting the whole film that year, but the months progressed and the cold weather and lack of leaves on the trees eventually shut us down.  This scene was one of the few interior scenes in the script, so leaves wouldn’t be an issue, but we were shooting in a house without any heating, so there was some pressure on us to shoot what we could before winter.  So, even though we couldn’t find actors for two of the roles in the scene, we decided to go ahead and shoot the main action with the 3 most important characters, who had been cast.  (This happens a lot.)

The best way to describe our shoots before this one is that they were sort of like chaotic all-day family picnics with a lot more fake blood than usual and a guy running around dressed as a bear.  That, believe it or not, was our strategy for getting the film shot quickly.  

This is what a typical Grassman shoot  looks like.

This is what a typical Grassman shoot looked like prior to November 2009

This opening scene would be our first interior shoot, and I wanted it to have a different look and feel to it.  Steve Grothaus was brought on board for the first time on the production to do lighting for us.  (The poor fool couldn’t see where this was headed.)  Also, we used lights for the first time.

My wife’s cousin, Naomi Goldman, who was probably about 14 at the time and studying acting, joined the cast for this shoot making this the first time we did a shoot with anyone who had any type of acting training.  (Stephan Meyer, who plays Kyle, may have had some, but no one cared.)  Her presence greatly added to this strange new professional feel that was floating around in the air.  She came in and did her part with very little input from me.  She delivered her angsty lines like the angsty teenager she was portraying and I could see her character thinking – I often have to coach people to look like they’re thinking.  (The “smell a fart” technique tends to work for all untrained actors….  except Wayne Burton.  Remind me to tell you about that later.) So I just got to stand back and watch the scene and not do anything, which was great because I’m not really into…  you know… doing things.   

Naomi Goldman acts teenage angsty while Steve Grothaus operates the duct-taped boom mic, trying to keep out of the way of the shot and blissfully unaware of the on-camera fate that would ultimately befall him.

Naomi Goldman acts teenage angsty while Steve Grothaus operates the duct-taped boom mic, trying to keep out of the way of the shot and blissfully unaware of the on-camera fate that would ultimately befall him.

As for our other actors, my nephew Dennis had jumped at the chance to play one of the roles because it required him to have his head smashed through a window.  (?)  We weren’t shooting that stunt this night (We really didn’t know how to do it without smashing his actual face through an actual window.) and he didn’t have any lines, so mostly what Dennis did was sit on the bed next to his wife Erin.

Up to that point, this was his only performance worth talking about anyway.  He spent the first day of shooting this way.  He was not in any scenes.

At that point in time, this was his only performance worth talking about anyway. He spent the first day of shooting this way. He was not in any scenes.

Erin, by default, was drafted to play Dennis’ character’s girlfriend because of all the making out that the script required.  She had never done anything like this before, and in retrospect, maybe subjecting a first-time actor to an awkward on-camera make-out scene her first time out when we didn’t have any experience with scenes of characters having any kind of physical contact with each other (ew) was probably not a good move.  She quickly developed a serious case of The Giggles.

(A lot of filmmakers offer advice on how to approach love scenes on filmmaking blogs like this one.  Here’s my advice: Hell with it.  No one wants to see a bunch of kissing anyway.)

I remember being in an audio class in college and stepping into a recording booth for the first time because the teacher needed someone to record a couple lines for a project we were working on.  Didn’t seem like a big deal.  I had been doing this kind of thing as an actor for my own films for years.  But as I stood there next to the microphone, I looked through the window and saw the whole class staring at me… TERRIFYING.  Years of experience but NOT WITH PEOPLE WATCHING.

All my "films" sort of looked like this.

All my “films” sort of looked like this.

Clearly, Erin was having a similar experience now.  Even after we said “to hell with” the making out (because it was awkward and no one wants to see a bunch of kissing anyway) she was still having trouble getting through her lines.  The whole process of pretending to say and do things while people stand around and watch is weird and unnatural, and out of everyone we worked with up to that point,  she seemed to be the one who had the hardest time with it.

But she had one of the best attitudes ever in the history of ever.  She hung in there, and I did what I could to help her (even though I don’t know the first thing about acting… probably should work on that).  This was someone who had been drafted into service just so her husband could put his head through a window (?) and was totally out of her element. She focused on the task at hand, worked hard, and got the job done no matter how silly she thought she looked.  If she couldn’t do a line one way, we’d do it another way.  If she couldn’t do panicked and hysterical, we’d have her play it stunned and in shock.

Erin Myers does acting.  While Dennis sits on bed.

Erin Myers does acting. Dennis sits on bed.

Skill and experience are nice to have.  But attitude is what really counts.  Skill can be learned and experience can be…  experienced.  Attitudes can be changed, too, but no one wants to hang around while you learn to be less of a jerk/drama queen/downer/lazypants.  I’d work with Erin again in a heartbeat.  I don’t care if her husband wants to put his head through a window or not this time. (?)

So you see, the reason I cast Steve Grothaus as a meth-addicted Jack Elam was because of his attitude. But wait a minute…  What about the other Jack Elam?  What about the Grothaus Death Glare?  Why the hell did we do it a year and a half after the main shoot?  In January?  What’s this about Wayne Burton smelling farts?  

Get all these answers and more next Monday in the third and final chapter of “The Things We Have to Go Through Around Here to Finish a Scene.”  Except for the Wayne Burton/fart story.   I’m saving that one for later.

– Tyler

To this day, he has no concept of how cool this is.

One more time.  Just to get the full impact.