The Filmumentaries Podcast

Ian Hunter has spent four decades building miniatures, supervising visual effects and thinking like a filmmaker on some of the most demanding productions in Hollywood. In this episode, he traces a career that began in a garden shed with a punched-up piece of German black velvet and ended up — via James Cameron, Tim Burton, the Coen Brothers, and Christopher Nolan — on some of the most iconic screens in the world.Ian grew up surrounded by art. His father painted oils and acrylics, played music and did pastel portraits, and encouraged his three sons to make things — even when those things destroyed the materials he'd given them. The moment that really clicked, Ian recalls, was being handed a model kit as a kid and taking to it immediately. That creative instinct only grew stronger. In high school, he and his brothers were making Super 8 films, scratching laser effects onto the film with a pin and blowing up overloaded resistors for explosions. One of those films required them to fake-rob a local bank — and the encounter that followed, with the surprisingly enthusiastic vice president of the Monrovia Wells Fargo, led to a meeting with the mother of Rick Baker, whose work Ian had recently encountered in a traveling special effects exhibition and been completely floored by.After drifting away from an aerospace course at Cal Poly Pomona and working in an acid bath plastics factory, Ian answered a classified ad looking for model makers — and on the strength of a modest portfolio, was hired the same day. His first feature was The Abyss. He and fellow model maker Jim McGee built the flooded engine room of the Montana submarine with almost no direction beyond James Cameron's bare-bones description, and shipped it to South Carolina having never seen a frame of the live action. The production was not without its disasters — Ian found himself entangled in the notorious wax crane fiasco, and talks about the valuable early lesson of knowing when to call something out before it goes wrong.From there, a friend pointed him toward Boss Film, Richard Edlund's company in Marina del Rey, where a chance encounter with departing model supervisor Mark Stetson changed everything. What was supposed to be a one-week favour on a music video turned into six years. Working with Stetson took Ian from being a junior model maker building things in isolation to visiting sets, talking directly with directors, and understanding that miniature work only succeeds when it becomes invisible — just more shots in a movie, telling the story rather than showing off the technique.Among the projects from that period, Ian talks at length about Total Recall — including the behind-the-scenes chaos of a scale miscommunication on the final day of shooting, a scene involving a little person that nobody had accounted for, and the moment he glued a Coke can to a model building because they were running out of time. That Coke can, dressed up and shot from the front, made it into the finished film. So did one in Waterworld. And Inception. And Interstellar. And, after the story apparently got around, director Fede Álvarez greeted Ian on Alien: Romulus by asking exactly where he was planning to hide it.Ian built the suburb for Edward Scissorhands — deliberately making it more bland and mundane than real life — and talks about one of his proudest in-camera shots: the final view through the bedroom window and out over the snow-dusted neighbourhood, achieved with a 1:24 scale model and real snow shakers on the night. On Batman Returns he built the Penguin's zoo, and describes receiving one of his all-time favourite compliments from Tim Burton — who, after watching a pyrotechnics test, asked simply: "Where did you shoot this?" Not realising he was looking at a miniature. The zoo also gave Ian one of his best examples of a happy accident: a polar bear sculpture that was supposed to explode but instead toppled slowly sideways with flames coming out of its feet. Tim Burton loved it. The entire subsequent engineering challenge was figuring out how to recreate the mistake.On the X-Files movie, Ian and his partner Matthew Gratzner built a collapsing federal building on a tight budget, referencing Oklahoma City bombing photographs for the detail of damaged concrete and exposed floors. The late Roger Ebert reviewed the finished film and said the sequence should have been cut — because it was too reminiscent of real tragedy. Ian reflects on that as a marker: they'd gotten past the technique and into the emotion.The conversation turns to Christopher Nolan, with whom Ian has worked across multiple films. Ian describes Nolan as collaborative but definitive, someone who discusses a shot in depth and then tells you exactly what he wants. He talks about the liberation Nolan offered on Interstellar when he told the crew to stop following the previs — pre-vis is just a guy at a computer on a Friday trying to get the shot out the door, Nolan told them; if you can see a better angle, do that instead. The result was that the miniature crew started shooting faster, and a number of shots that had been planned as digital moved across to the physical side. Ian also describes the meticulous sun-angle calculation that went into matching the Inception hospital sequence — setting up models in a parking lot at a precisely calculated skewed angle to hit the exact quality of light that had been captured in Calgary on a specific date.On First Man with Damien Chazelle, Ian had drawn storyboards before the first meeting proposing a documentary approach — cameras attached to the spacecraft, nothing sweeping or cinematic, everything either very close or very wide as if shot from another ship. Chazelle walked in and described exactly the same idea. They spent twenty minutes together going through the sequence, working to an animatic cut to music, and Ian went off and shot it. That shorthand — that moment of being in sync before the conversation has really started — is something Ian describes as central to how he has survived in an industry where so many practical effects houses have not. He's a model maker, yes. But more than that, he's a filmmaker.This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

In this episode, I chat with creature effects artist, puppeteer and digital pioneer Craig Caton-Largent about a career that arguably traces the entire arc of modern visual effects — from foam latex and animatronics to motion control, performance capture and full CG animation. Craig talks about growing up on a sheep and cattle ranch in Washington State, being captivated by the 1960s Batman TV show and then Planet of the Apes, and teaching himself prosthetics from Dick Smith's Monster Makeup Handbook. After tracking down Dick Smith's address in Who's Who in America, he wrote a letter that led to a year of mentorship over cassette tapes and ultimately introductions to Rick Baker, Stan Winston and Tom Burman. We get into his first job on Charles Band's Metal Storm: The Destruction of Jared-Syn, working on the Olympic alien for the 1984 closing ceremonies, sculpting barnacles on Cocoon, building Spock's seamless silicone ears on Star Trek IV: The Voyage Home, undulating menacingly under shaving cream on Larry Cohen's The Stuff, and puppeteering Slimer's mouth on the original Ghostbusters. A big part of the conversation focuses on Jurassic Park, including the design evolution of the T-Rex, the helicopter convention moment that led to the McFadden motion base, the logistics of moving the full-size animatronic across the San Fernando Valley at night, and Craig's work as the Raptor puppeteer, including the now-legendary "head tilt" at the kitchen window that earned an on-set "It's like Alien, I love it" from Spielberg. We also talk about Craig's twenty-year stint as the caretaker, or "doctor", to the original ET puppet, including the time the LAPD turned up at his garage door thinking he was running a crack lab while he was actually repainting ET. Plus the story of how Stan Winston handing him a couple of SGI machines led, almost overnight, to him becoming one of the eight co-founders of Digital Domain alongside James Cameron and Scott Ross. Later in the conversation we move into Craig's animation career as a final layout artist and character TD at DreamWorks and Disney, with credits on Tangled, Rise of the Guardians, How to Train Your Dragon 2 and Turbo, and stories from working with Guillermo del Toro at DreamWorks. We finish on Craig's current role as Creative Director of the 3D Animation and Visual Effects department at the New York Film Academy in Burbank. Topics coveredGrowing up on a Washington State ranch and falling in love with Planet of the ApesFamous Monsters of Filmland and Dick Smith's Monster Makeup HandbookCold-writing to Dick Smith and a year of cassette-tape mentorshipArriving in Hollywood at the start of the "golden age" of effectsFirst feature work on Metal Storm: The Destruction of Jared-SynThe closing ceremonies of the 1984 LA Olympics and Ron Cobb's alienSculpting barnacles and cocoons for Cocoon (1985)Seamless silicone Spock ears on Star Trek IV: The Voyage HomeThe Stuff with Larry Cohen and "undulating menacingly"Puppeteering Slimer's mouth on GhostbustersDesigning the T-Rex around helicopter flight simulator technologyWorking with McFadden Simulation on the T-Rex motion baseMoving the full-size T-Rex across the San Fernando ValleyBuilding a 70lb Steadicam-rigged Raptor insert head for Jurassic ParkUsing parrots as reference for bird-like Raptor movementThe kitchen porthole head tilt, and Spielberg's "It's like Alien" reactionUsing Kermit the Frog's voice on set as the Raptor performerTwenty years as ET's "doctor", and the LAPD crack-lab incidentET's arm in a rifle case at JFK a week after 9/11Motion capture experiments and blood-spread effects on Interview with the VampireA flying logo on an Amiga, and becoming a co-founder of Digital DomainWorking with Stan Winston, James Cameron and Scott RossMoving into animation: character rigging at Disney on TangledFinal layout and virtual camera work at DreamWorks on Rise of the Guardians, How to Train Your Dragon 2 and TurboLunches with Guillermo del Toro in the DreamWorks canteenPre-vis on the Total Recall remake with Len WisemanTeaching the next generation at the New York Film Academy, BurbankThe unique "intergalactic award" Spielberg gave Craig for puppeteering ETThis podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

Episode 147: John DuncanIn this episode, I’m joined by model maker John Duncan, whose career spans nearly fifteen years at Industrial Light & Magic and includes work across Star Wars, Star Trek, Galaxy Quest, Pirates of the Caribbean, The Matrix and more.John talks about his early fascination with building miniatures as a kid, making models out of paper and cardboard, and how that instinct to just try things eventually led him into the film industry. What started as architectural model work and a stint in television quickly turned into a career at ILM, beginning in 1993, where he arrived for what was meant to be a two-week job and stayed for over a decade .We get into the realities of model making for film, learning to build for the camera rather than for close inspection, working under tight deadlines, and letting go of work when it needs to be modified or destroyed for the shot.John also discusses his time as a concept model maker on the Star Wars prequels, working with Doug Chiang to create what he describes as “3D blueprints” for the wider production. These models helped bridge the gap between design, practical builds and digital assets, ensuring consistency across departments.There’s plenty here on specific projects too, including building the Enterprise-E for Star Trek: First Contact, working on the ships for Galaxy Quest, and contributing to the large-scale pirate ships in Pirates of the Caribbean. He also shares stories about unusual materials, problem-solving on the fly, and the collaborative nature of the ILM model shop.We also talk about the shift from practical models to digital effects, where miniatures still have a place today, and why physical builds continue to resonate with filmmakers and audiences alike.John is thoughtful, practical, and clearly still passionate about the craft. This is a great insight into a side of filmmaking that often goes unnoticed, but is absolutely fundamental to how these films were made.Topics coveredGrowing up building models and early creative influencesFirst steps into the film industry via architectural modelsJoining ILM in 1993 and working alongside industry legendsBuilding models for camera vs building for displayWorking on Star Trek: First Contact and Galaxy QuestConcept model making on the Star Wars prequelsCollaborating with Doug Chiang and George LucasThe idea of “3D blueprints” in film productionPractical effects vs digital effectsWorking on Pirates of the CaribbeanMaterials, techniques and problem-solving in the model shopReplica prop community and fan researchWhy physical models still matterThis podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

In this episode of The Filmumentaries Podcast, I’m joined by creature effects designer Alec Gillis, founder of Studio Gillis and co-founder of Amalgamated Dynamics Inc. (ADI) alongside Tom Woodruff Jr.Alec has spent more than four decades helping bring some of cinema’s most memorable creatures to life. After beginning his career working under the legendary Stan Winston, he went on to contribute to films including Aliens, Predator, Alien³, Tremors, Death Becomes Her, Starship Troopers and many more.In this conversation we talk about how a childhood encounter with Ray Harryhausen’s Jason and the Argonauts set him on this path, the early days building stop-motion creatures in his parents’ garage, working for Roger Corman alongside a young James Cameron, and what it was like joining Stan Winston Studio during one of the most exciting periods in creature effects history.We also talk about the eight-week scramble to build the Predator, working with David Fincher on Alien³, forming ADI with Tom Woodruff Jr., and how practical creature effects continue to evolve in an industry now dominated by digital tools.This interview was recorded remotely, but I recently had the chance to visit Alec in Los Angeles while filming interviews for our upcoming Joe Alves documentary, where we spoke in person about his work on Jaws 3-D.Topics discussed• Discovering movie magic through Ray Harryhausen• Building stop-motion creatures as a kid• Learning the craft during the Roger Corman years• Meeting and working alongside James Cameron• Life inside Stan Winston Studio• Creating the Predator in just eight weeks• The production of Alien³ and working with David Fincher• Founding Amalgamated Dynamics Inc. with Tom Woodruff Jr.• Practical effects in the digital era• Mentoring the next generation of creature artistsSupport the PodcastI hope you enjoy it.This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

This is a short bonus episode with a very specific purpose. Patrick Tyndall and I are in the middle of a GoFundMe campaign to get us back to Los Angeles to finish filming Not Your Average Joe, our documentary about legendary production designer Joe Alves. This episode is me explaining where the project is at, what we’ve already achieved, and why this upcoming LA trip feels so important. We’ll be in Los Angeles from 22–28 February 2026, filming interviews and B-roll that cover some key chapters of Joe’s life and career, including:Joe’s short but intense motor racing career, including racing alongside Dickie SmothersThe story of Joe introducing a major Hollywood actor to racing, setting them on a path to a serious motorsport careerAn interview with Alec Gillis the effects artist who built the articulated sharks for Jaws 3A conversation with Ann Dusenberry, who worked closely with Joe on Jaws 2An interview with Dean Cundey, cinematographer on Escape from New YorkOngoing efforts to involve Steven Spielberg in the projectThe documentary has only been shot over a relatively small number of days so far, all fitted around regular jobs and family life, but the material we’ve captured already has been incredible. This next trip is about joining the dots and getting the remaining pieces that will allow us to bring Joe’s story properly over the finish line. At the time of recording, the GoFundMe is sitting at around $1,000, and we need roughly $3,000 to make the trip work. Any contribution helps, but just as importantly, sharing the campaign on social media genuinely makes a difference. If you’ve ever enjoyed the podcast, the articles, or the behind-the-scenes conversations, this is me asking for a bit of help to make sure this story gets told. Donate here!This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

Jon's Kickstarter LinkSummaryIn this conversation, Jon Spira discusses his new book 'I'll Settle for Nothingness: Conversations with Mike Hodges', detailing the genesis of the book, his friendship with the legendary filmmaker, and the exploration of Hodges' versatile career. The discussion covers many things including the making of 'Morons from Outer Space', the challenges of unproduced films, and the emotional journey of writing the book. Spira also shares insights into Hodges' legacy, his experiences with the BFI, and the Kickstarter campaign for the book's publication.TakeawaysThe book is a collection of conversations with Mike Hodges.Jon Spira's friendship with Hodges developed through their shared love of cinema.'Morons from Outer Space' is a film that has gained a cult following despite its initial failure.Hodges was a versatile filmmaker, working across various genres.The Terminal Man is a significant film that was poorly marketed and overlooked.Hodges had many unproduced films that reflect his creative vision.The BFI is preserving Hodges' legacy through his film archive.Spira aims to honor Hodges' memory through this book.The emotional journey of writing the book was profound for Spira.The Kickstarter campaign is a way to celebrate Hodges' work and legacy. This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

In this episode of The Filmumentaries Podcast, I’m joined by Laurent Hopman and Renaud Roche, the writer and artist behind the acclaimed graphic novel Lucas Wars, which tells the behind-the-scenes story of the making of Star Wars from a deeply personal, human perspective. Laurent shares his background as an entertainment journalist and how years of research, interviews, books and documentaries fed into the script. Renaud talks about coming from a traditional animation and storyboarding background, studying at Gobelins in Paris, and how cinematic visual language shaped the way he approached the book’s artwork. We discuss:Why the emotional journey of George Lucas became the heart of the storyHow the pair condensed vast amounts of historical research into a tightly structured graphic novelThe challenge of visually dramatising meetings, offices and creative conflictThe relationship between Lucas and Spielberg, and how it shapes both volume one and the upcoming sequelThe meaning behind the iconic twin suns coverVisiting Skywalker Ranch and Lucasfilm after the book’s releaseBalancing historical accuracy with storytellingWhy Lucas Wars connected with readers beyond the core Star Wars fandomWe also talk about the upcoming second volume, which covers The Empire Strikes Back and Raiders of the Lost Ark, and how expanding into Spielberg’s world adds a new layer to the story. As always, if you enjoy the podcast and would like to support what I do, you can find me on Patreon, and the show is also available on YouTube if you prefer to watch the interviews. BUY IT HEREThis podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

In this episode of The Filmumentaries Podcast I speak with author and film historian Jay Glennie about his new book, The Making of Quentin Tarantino’s Once Upon a Time ...In Hollywood. Jay has a real gift for pulling together people, memories and materials, and this book is packed with insight from the cast and crew, including Leonardo DiCaprio, Brad Pitt, Margot Robbie and Quentin himself.We get into how long Quentin carried the idea for the film, the script secrecy following The Hateful Eight leak, and the vital work of the ADs, casting team, DP, production designer and producers. Jay talks about the careful balancing act of handling contradictory memories, how he preserves the voices of the people he interviews, and how he approaches a project that is still fresh in everyone’s mind. We also look at what comes next in his ten book Tarantino series.Big thanks to Jay and to TITAN books.Buy Jay Glennie’s book - published by TITAN.This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

In this episode of The Filmumentaries Podcast, I sit down with sibling filmmakers Claire and Anthony Bueno, the creative team behind Cleanin’ Up the Town: Remembering Ghostbusters - a feature documentary more than a decade in the making, and the definitive oral history of one of the most beloved comedies of all time. The Buenos spent years interviewing dozens of cast and crew members from the original Ghostbusters, including Dan Aykroyd, Ernie Hudson, Sigourney Weaver, and the late Harold Ramis. The result is an extraordinary behind-the-scenes portrait that captures both the technical wizardry and the creative spirit that defined the 1984 classic. Claire’s new companion book, also titled Cleanin’ Up the Town, builds upon the documentary by presenting full-length interviews, previously unseen material, and new reflections from the filmmakers and craftspeople who brought Ghostbusters to life. In our conversation, Claire and Anthony share what it took to get the project made -the years of persistence, the challenges of rights and access, and the rewards of telling such a beloved story from a fan’s perspective. Whether you’re a lifelong Ghostbusters enthusiast or simply interested in independent documentary filmmaking, this is a fascinating glimpse into the dedication required to bring such a massive project to life.This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

Cinema historian Nigel Smith joins Jamie to explore the hidden history of London’s picture houses. In particular the Egyptian-style Carlton in Islington. Nigel brings these spaces back to life through stories, archives, and first-hand recollections. In this episode, Nigel and Jamie discuss:How London’s old cinemas became coffee shops, bingo halls, and churchesThe difference between “going to the pictures” in the 1930s–50s and cinema-going todayHow local archives, trade papers, and oral histories help piece together forgotten storiesWhy repertory and community cinemas may hold the key to the future of film-goingNigel’s Memory Palaces project, documenting almost 100 cinema buildings with photos and storiesFind more from Nigel:memorypalaces.co.uk and Instagram @nigelsmithwalks.This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

In this episode of The Filmumentaries Podcast, I sit down with Tommy Williamson, a visual effects artist, prop maker, and lifelong creator whose career spans more than three decades. Tommy has worked on films including Spider-Man 2, Sin City, The Mist, Dune: Prophecy, and the modern masterpiece Pan’s Labyrinth. Tommy shares his journey from building paper-craft UFOs as a kid to working alongside Guillermo del Toro and becoming one of the artists helping to bridge the worlds of practical effects and cutting-edge digital VFX. We also dive into his passion for prop replicas and his work as the creator behind Nerds and Makers, where he builds incredible recreations of iconic movie props. If you love behind-the-scenes filmmaking stories, prop-making secrets, and hearing from the artists who bring movie magic to life, this episode is for you. In this episode, we discuss:Tommy’s early love of model making and practical effectsHis first big break on the 1988 remake of The BlobAdapting to the digital VFX revolution after Jurassic ParkWorking closely with Guillermo del Toro on Pan’s LabyrinthThe creative process behind his Nerds and Makers prop replicasWhy keeping one foot in both practical and digital worlds makes him a better artistThe importance of experimentation, curiosity, and lifelong creativity“I’ve always had to make things. It’s absolutely in my DNA. Even now, I’ll work on a show all day and then spend my evenings printing a lightsaber or a blaster. I can’t not do it.” — Tommy WilliamsonYou can follow Tommy and see his incredible prop builds on Instagram: @nerdsandmakersThis podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

In this special bonus episode of The Filmumentaries Podcast, I take you behind the scenes of Propstore’s upcoming Los Angeles auction, featuring some truly jaw-dropping pieces of movie history. I was invited to a press preview at London’s Dorchester Hotel, where I spoke with Propstore’s Tim Lawes (Director of Consignment) and Stephen Lane (CEO and Founder) about some of the headline items, including:A screen- and photo-matched Darth Vader hero lightsaber from The Empire Strikes Back and Return of the JediThe iconic Jaws clapperboard with teeth, plus Bruce the shark’s eyesJane Fonda’s Barbarella costume and blasterWe discuss the thrill of uncovering long-lost props, the stories behind these legendary items, and what it means for collectors to own a piece of cinematic history. The auction runs September 4–6, 2025, streamed online from Los Angeles, with the full catalogue available at propstore.com. Next episode: My interview with puppeteer Dave Barclay, whose incredible career goes far beyond Jabba the Hutt.All my linksThis podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

Episode 130 – Laurent Bouzereau on “Jaws at 50” In this special episode, I catch up with the legendary documentary filmmaker Laurent Bouzereau to discuss his latest project, Jaws @ 50: The Definitive Inside Story, premiering Friday 11th July at 8pm on National Geographic and streaming the same day on Disney+. Laurent, whose behind-the-scenes work on Jaws, Indiana Jones, and Spielberg has inspired me for years, reflects on the challenges of revisiting Jaws 30 years after his original 1995 documentary. We talk about the new angles he explored, from Spielberg’s emotional recollections and rare 8mm footage to fresh perspectives from filmmakers like Guillermo del Toro, Jim Cameron, and Jordan Peele. Recorded on the fly on Martha’s Vineyard during the Jaws 50th celebrations, this short but meaningful conversation touches on the legacy of Jaws, the humanity behind the production, and how Laurent’s approach has shifted over the years. Also in this episode:An update on my Joe Alves documentary and the incredible support from GoFundMe donorsA mention of my new two-part article on ILM's animation legacy: ILM Evolutions: Animation from Rotoscoping to Rango – now live on ILM.comLinktreeSupport the podcastThis podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links