IT'S ALIIIIIIVE! (ft. Samuel Wyer)

[00:00:01] The most thrilling, spikingly series ever

[00:00:04] From the pages of R.L. Stine's best-selling books

[00:00:08] And the screens go on forever and ever

[00:00:13] We now return to Goosebumps

[00:01:05] Greetings Goosebumps fans, young and old, big and small, living dead and undead

[00:01:09] Welcome back to the Goosebumps Crew Podcast

[00:01:11] As always, I'm your host Isaiah Vargas

[00:01:13] And I'm joined by my good buddy Nick Shaw

[00:01:15] We are The Goosebumps Crew and we're back to talk some Goosebumps

[00:01:19] Unfortunately, Bjorn was unable to join us today

[00:01:21] But that's okay, we've got still a very special episode in store for you today

[00:01:27] If this is your first time joining us here on The Goosebumps Crew Podcast

[00:01:30] I want to sincerely welcome you all

[00:01:32] If you are or have ever been a fan of the Goosebumps series of books

[00:01:36] Or the franchise itself

[00:01:37] Then I have a feeling that this podcast is going to be right up your alley

[00:01:40] Me, Bjorn, and Nick are some of the biggest Goosebumps nerds on the planet

[00:01:44] I mean, we could talk about Goosebumps for hours

[00:01:46] And that's exactly what we do right here on this podcast

[00:01:49] So if you love Goosebumps

[00:01:51] Then make sure you tune in every week

[00:01:53] We talk about everything Goosebumps

[00:01:55] Whether it be the books, TV shows, movies, video games, merchandise, whatever it is

[00:01:58] If it has Goosebumps in the title

[00:02:00] We're probably going to talk about it

[00:02:02] Until the Polarized Caps melts

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[00:02:50] Join the crew today and let's talk some Goosebumps

[00:02:54] So we've said up to nauseating proportions at this point

[00:02:59] That the Goosebumps series was everywhere

[00:03:00] It had so many endeavors besides the books and the TV shows

[00:03:04] And live shows were no exception

[00:03:07] As we talked about before

[00:03:09] There's been many live shows for the Goosebumps brand

[00:03:12] Including Goosebumps Live on Stage

[00:03:15] Goosebumps Harlan Fright Show

[00:03:17] Which was in Disney World for about a year and a half I believe

[00:03:20] And if you watched episode 21 of the podcast

[00:03:22] Where we talked with Danny Abash and John McClay

[00:03:24] You'll know that there was also a Goosebumps musical

[00:03:27] That is still going on to this day since 2016

[00:03:31] But there is another Goosebumps Live experience

[00:03:34] That there's not actually much information about

[00:03:36] So we're going to talk about it today

[00:03:38] For anyone who knows about the 2016 live show

[00:03:43] Goosebumps Live that was done in London

[00:03:46] We're going to be talking about that today

[00:03:48] And finding out some information about that

[00:03:50] And joining us to talk about this with us is

[00:03:52] Hi, I'm Samuel Weyer

[00:03:55] I'm a production designer for theatre, opera, dance and film

[00:04:01] And I was the production designer for Goosebumps Live in London in 2016

[00:04:07] And we're very happy to have you here, Sam

[00:04:09] Thank you so much for joining us

[00:04:11] We're very excited to talk some Goosebumps with you

[00:04:13] Thank you very much for having me

[00:04:15] I'm looking forward to it

[00:04:16] Absolutely

[00:04:16] So to give a little background on Goosebumps Live

[00:04:19] So as we said, it was a live show that was started in London

[00:04:22] This show opened in May 2016

[00:04:24] It opens its doors to the public in London

[00:04:26] It was an interactive show in the vaults underneath the Waterloo station

[00:04:30] That sought to create an immersive theatrical performance

[00:04:33] Based on the Goosebumps universe

[00:04:35] And this show was essentially split into two different parts

[00:04:40] You had one that was, of course, for kids

[00:04:42] It was a little tamer

[00:04:44] A little more, you know, appropriate for kids

[00:04:46] But the main draw of this show was that it was a much more mature

[00:04:49] Much more gruesome and gnarly interpretation of the classic Goosebumps books

[00:04:54] For an adult audience

[00:04:56] And it featured adaptations of multiple Goosebumps books

[00:05:00] Including Night of the Living Dummy

[00:05:02] One Day at Horrorland

[00:05:03] The Haunted Mask

[00:05:04] And many, many more

[00:05:05] So this was a very interesting experience

[00:05:08] And we're going to delve into the depths of this show today

[00:05:13] So I guess my first question for you, Sam

[00:05:15] Is how did this show come to be?

[00:05:18] How did Goosebumps come to London?

[00:05:22] So

[00:05:22] Well, it might not be quite to the same extent as maybe over in the States

[00:05:30] Or in other places

[00:05:31] But Goosebumps was a great big success in the UK

[00:05:36] It was a big cultural phenomenon

[00:05:37] Particularly around the time that the TV show aired in the 90s

[00:05:43] And so as a result

[00:05:44] You have lots of people in their 30s and 40s

[00:05:48] Who were, you know

[00:05:50] Who grew up, who had their idea of storytelling

[00:05:53] And horror formed by those early viewings of the Goosebumps TV show

[00:05:59] And the popularity of the books at the time

[00:06:01] And that's very much my

[00:06:07] My

[00:06:08] A lot of them love

[00:06:09] What would you say?

[00:06:11] Generation, I suppose

[00:06:13] So

[00:06:14] As you mentioned

[00:06:16] In London

[00:06:16] There is a venue called The Vaults

[00:06:20] Which was a huge underground venue

[00:06:22] Made of a network of tunnels

[00:06:25] That were the old tunnels that existed underneath Waterloo Station

[00:06:28] And they were run as an arts venue

[00:06:31] By a guy called

[00:06:35] Kieran Vanstone

[00:06:37] Who really, you know

[00:06:40] Helped use this venue as a sort of incubation space

[00:06:44] For lots of exciting new shows

[00:06:47] New projects

[00:06:50] I actually was involved in the first ever production

[00:06:53] That went into that space

[00:06:54] With a company called Punch Drunk

[00:06:56] Who some of your listeners might know

[00:06:59] Are an immersive theatre company

[00:07:02] From the UK

[00:07:04] But they had Sleep No More in New York

[00:07:06] Which just closed recently after a decade

[00:07:10] And lots of other huge scale immersive productions

[00:07:14] And so Kieran takes over The Vaults

[00:07:16] And he's putting all these different shows

[00:07:18] And one of the shows that came to The Vaults in 2015

[00:07:22] Was our production of Alice's Adventures Underground

[00:07:25] Which is a sprawling immersive show

[00:07:28] Where the audience come in

[00:07:29] And big groups are sort of split up on their journeys

[00:07:32] And they experience Alice's story

[00:07:35] The following year

[00:07:38] Kieran decided that Goosebumps

[00:07:41] Could get the same treatment

[00:07:44] As our production of Alice's Adventures Underground

[00:07:48] And so he pulled together a team of people

[00:07:51] He knew me through Alice's Wonderland

[00:07:53] And various other things

[00:07:55] He worked with this amazing

[00:07:59] Production designer and art director

[00:08:01] As Darling and Edge

[00:08:02] Who produced incredible parties at The Vaults

[00:08:06] He reached out to Tom Salomon and Gabe Green

[00:08:09] Who he knew were working amazing immersive stuff

[00:08:12] Over in the States

[00:08:14] And various other people all got together

[00:08:17] And in 2016 we staged Goosebumps Alive

[00:08:21] That is awesome

[00:08:23] And as you said before

[00:08:25] The Vaults is like sort of an immersive theatre

[00:08:27] It is underneath the Waterloo train station in London

[00:08:31] So you have a bunch of sprawling tunnels underneath here

[00:08:34] Which is perfect for really the kind of shows that it puts on

[00:08:39] There's a lot of very gothic, dark, sort of horror-esque

[00:08:44] Or mystery-esque shows that get put on in The Vaults

[00:08:47] And I mean that's perfect for Goosebumps

[00:08:50] And there really hasn't been anything like that done before

[00:08:53] As we said there have been multiple live Goosebumps experiences

[00:08:57] But they're mostly stage shows

[00:09:00] Or sort of like

[00:09:02] In terms of like musicals

[00:09:04] Or even in terms of the Disney show

[00:09:06] It's sort of like a walk-up performance

[00:09:09] But this was the first time you got to be inside

[00:09:12] Not only an immersive experience

[00:09:13] But a maze

[00:09:15] And as I said

[00:09:16] This was also geared towards

[00:09:18] You had a kids version of course

[00:09:20] But this was more geared towards the adults

[00:09:22] That grew up reading the Goosebumps books

[00:09:25] And maybe nostalgic for it

[00:09:27] And it certainly didn't hold back

[00:09:29] From what I've heard in certain scenarios

[00:09:32] The monsters were much more grotesque in their design

[00:09:35] There was a lot of jump scares

[00:09:37] There was a little more horror to the scenarios

[00:09:41] Which was pretty interesting

[00:09:43] So my second question is

[00:09:46] What was the process for turning Goosebumps

[00:09:49] Into more of an adult experience?

[00:09:51] Where did it all start?

[00:09:52] Well I suppose

[00:09:53] Something good to mention before

[00:09:54] Before I answer that question directly

[00:09:56] Is the venue where we put Goosebumps on

[00:10:01] Which the vaults underneath Worsley Station

[00:10:03] Is part of this sprawling network of tunnels

[00:10:05] Which go all through that area of London

[00:10:08] And in the production of Goosebumps

[00:10:11] We're exploring some of these tunnels

[00:10:16] And they went on a lot further

[00:10:18] Than I thought

[00:10:18] There was about two square miles of them

[00:10:20] And they're vast

[00:10:21] They are, you know

[00:10:23] They can be between

[00:10:26] 50 and 100 metres long

[00:10:29] They're all about 8 metres high

[00:10:31] And some of them

[00:10:32] Were called the

[00:10:35] Cemetery tunnels

[00:10:36] And the reason they were called the cemetery tunnels

[00:10:38] These are the ones that are adjacent

[00:10:39] To the ones we use for Goosebumps

[00:10:41] So right next door

[00:10:42] They're called the cemetery tunnels

[00:10:44] Because during World War II

[00:10:45] When all the bombs were dropping

[00:10:47] And people were dying

[00:10:48] Left, right and centre

[00:10:51] The practicalities of moving these bodies

[00:10:54] Out to places where they could be buried

[00:10:55] Were such that they would hoard

[00:10:58] All of the bodies in these tunnels

[00:11:00] Underneath Worsley Station

[00:11:02] To keep them cool

[00:11:03] And keep them out of the air

[00:11:05] Before they went out on a train line

[00:11:07] From Worsley called the Necropolis Line

[00:11:09] Which used to take the bodies

[00:11:10] Out to these cemeteries

[00:11:13] These new cemeteries

[00:11:14] That were built out of London

[00:11:15] So really as a space

[00:11:19] To tell these stories

[00:11:21] It was perfect

[00:11:24] And in answer to why

[00:11:25] I suppose

[00:11:29] We

[00:11:31] As I said

[00:11:32] We are a generation

[00:11:33] To have took these stories

[00:11:34] Into our adult lives

[00:11:35] And

[00:11:36] There is a huge amount

[00:11:37] Of nostalgia for them

[00:11:38] But there's also

[00:11:39] Like

[00:11:41] There's no doubt

[00:11:42] That they

[00:11:43] Somehow reflect

[00:11:44] On the way

[00:11:44] That we view

[00:11:46] Things in the world

[00:11:47] That are sort of like

[00:11:49] Scary to us

[00:11:50] Nowadays

[00:11:50] And so really

[00:11:52] There was a sort of urge

[00:11:53] To

[00:11:54] Recreate that feeling

[00:11:55] You have when you're a kid

[00:11:56] But

[00:11:56] That translates it

[00:11:57] In a way

[00:11:57] That felt like

[00:11:59] Vivid

[00:12:00] And exciting

[00:12:00] And relatable

[00:12:01] And

[00:12:03] Terrifying

[00:12:04] And actually

[00:12:05] Production wise

[00:12:06] During the script process

[00:12:08] With Tom and Greg

[00:12:09] Working the script

[00:12:10] There was lots of

[00:12:13] Really

[00:12:13] Exciting push

[00:12:14] And pull

[00:12:15] Between

[00:12:16] The

[00:12:19] Updating

[00:12:20] Of it

[00:12:20] To

[00:12:21] To a

[00:12:23] To a

[00:12:23] Completely modern

[00:12:24] Completely relatable

[00:12:25] Script

[00:12:25] And the nostalgia

[00:12:27] Of the

[00:12:29] Version that we

[00:12:30] Learned as kids

[00:12:30] And trying to

[00:12:32] Work out

[00:12:32] What level

[00:12:33] Of

[00:12:36] Adaptation

[00:12:36] We wanted to

[00:12:38] Create

[00:12:40] You know

[00:12:41] How much

[00:12:41] Do you want to talk about

[00:12:42] Like modern technology

[00:12:43] For instance

[00:12:44] And how much

[00:12:44] Do you want to talk about

[00:12:45] Like old junk shops

[00:12:47] And they were sort of

[00:12:48] Like in a

[00:12:49] On a

[00:12:50] Seesaw

[00:12:50] Really

[00:12:51] Of like

[00:12:51] And how much

[00:12:52] How much

[00:12:53] Do you want to talk about

[00:12:54] Like kind of

[00:12:55] Modern consumerism

[00:12:56] And how much

[00:12:57] Do you want to talk about

[00:12:58] Like

[00:13:01] Some of the more

[00:13:02] Like childish

[00:13:04] Concerns

[00:13:04] I suppose

[00:13:05] So we were really

[00:13:06] Trying to

[00:13:07] All the time

[00:13:08] In creating the show

[00:13:09] Find that balance

[00:13:10] Between

[00:13:11] Hitting that

[00:13:11] Nostalgic

[00:13:13] Adventurous

[00:13:15] Childish

[00:13:16] Childish

[00:13:16] Feeling

[00:13:17] And

[00:13:17] Having something

[00:13:19] That was

[00:13:19] As you say

[00:13:20] More sort of

[00:13:21] Scalpel sharp

[00:13:22] And like

[00:13:23] Really

[00:13:23] Got to the heart

[00:13:25] Of your

[00:13:25] Adult fears

[00:13:26] And adult concerns

[00:13:27] Absolutely

[00:13:28] Absolutely

[00:13:28] And in just about

[00:13:29] Every way

[00:13:30] I feel like

[00:13:30] It really

[00:13:31] Set out to do

[00:13:32] What it was

[00:13:33] Meant to do

[00:13:34] If you take a look

[00:13:35] At pictures

[00:13:36] Of the event

[00:13:37] Like

[00:13:37] It's

[00:13:38] Again

[00:13:38] It is a much

[00:13:39] More

[00:13:41] Dark and gothic

[00:13:42] Version of

[00:13:42] Goosebumps

[00:13:43] Than

[00:13:44] Most people

[00:13:44] Might be

[00:13:45] Familiar with

[00:13:46] In terms of

[00:13:46] The original books

[00:13:47] And it makes

[00:13:48] For a very

[00:13:49] Interesting

[00:13:49] And new

[00:13:50] Experience

[00:13:51] For many

[00:13:52] Longtime fans

[00:13:55] So

[00:13:55] This show

[00:13:57] Did many

[00:13:58] Adaptations

[00:13:59] Did it have

[00:13:59] Like a central

[00:14:00] Story to it

[00:14:02] Yes

[00:14:02] So the structure

[00:14:03] Of the show

[00:14:04] Basically was

[00:14:06] All of the

[00:14:06] Groups amassed

[00:14:07] And they were

[00:14:08] Given cards

[00:14:08] And the cards

[00:14:09] Had

[00:14:12] A symbol

[00:14:12] On them

[00:14:13] And there was

[00:14:14] A rat

[00:14:14] A snake

[00:14:15] A spider

[00:14:17] And a crow

[00:14:19] And each of

[00:14:20] Those were

[00:14:20] Sort of

[00:14:21] Arranged

[00:14:22] In a symbol

[00:14:23] Form

[00:14:24] And that

[00:14:25] Dictated the

[00:14:26] Path that you

[00:14:26] Were going to

[00:14:26] Take

[00:14:28] And

[00:14:30] You would

[00:14:31] As an audience

[00:14:31] Member

[00:14:31] Basically have

[00:14:32] One of

[00:14:33] Sort of

[00:14:34] One of two

[00:14:35] Parts really

[00:14:35] Although there

[00:14:36] Were four

[00:14:36] Groups

[00:14:36] It helps us

[00:14:37] Move people

[00:14:38] Around

[00:14:39] So you might

[00:14:40] Have gone and

[00:14:40] Seen

[00:14:42] The

[00:14:43] Cuckoo clock

[00:14:44] Or

[00:14:44] The blob

[00:14:46] That ate

[00:14:46] Everything

[00:14:47] Or

[00:14:48] Say cheese

[00:14:49] And die

[00:14:50] Or

[00:14:53] The haunted

[00:14:53] Mask

[00:14:55] And then

[00:14:56] If you'd

[00:14:57] Have done

[00:14:57] You'd have

[00:14:58] Done two

[00:14:58] Of those

[00:14:59] Switched

[00:15:00] Around

[00:15:00] And then

[00:15:01] As a

[00:15:01] Larger

[00:15:02] Group of

[00:15:02] I think

[00:15:03] About 50

[00:15:04] At this

[00:15:04] Point

[00:15:04] You would

[00:15:05] Then go

[00:15:05] And you

[00:15:06] Travel to

[00:15:06] A larger

[00:15:07] Room

[00:15:07] Where you

[00:15:08] Might see

[00:15:08] Don't go

[00:15:09] Into the

[00:15:09] Basement

[00:15:11] Or

[00:15:13] The

[00:15:13] Scarecrow

[00:15:14] Story

[00:15:15] Which I

[00:15:16] Can't

[00:15:16] Remember

[00:15:16] What it

[00:15:17] Was

[00:15:17] Called

[00:15:17] But you

[00:15:18] Know the

[00:15:18] One

[00:15:18] The

[00:15:19] Scarecrow

[00:15:20] Story

[00:15:20] Ezra

[00:15:20] Walks

[00:15:20] At

[00:15:20] Midnight

[00:15:21] Yep

[00:15:21] Yeah

[00:15:22] Exactly

[00:15:23] And then

[00:15:24] Throughout

[00:15:24] The

[00:15:25] Production

[00:15:27] You're

[00:15:27] Sort of

[00:15:27] A

[00:15:29] You're

[00:15:30] Sort of

[00:15:30] A

[00:15:30] Voyeur

[00:15:31] In these

[00:15:32] Stories

[00:15:32] Occasionally

[00:15:33] The characters

[00:15:33] Will be

[00:15:34] Interacting

[00:15:34] With you

[00:15:34] Occasionally

[00:15:35] You've got a

[00:15:36] Sense

[00:15:36] You're sort

[00:15:36] Of like

[00:15:37] Pressed up

[00:15:37] Against the

[00:15:37] Glass

[00:15:39] But all

[00:15:40] The way

[00:15:40] Through

[00:15:40] Right from

[00:15:41] The very

[00:15:42] Beginning

[00:15:42] Of the

[00:15:42] Show

[00:15:44] There were

[00:15:44] These

[00:15:45] Stitched

[00:15:45] In these

[00:15:46] Little

[00:15:46] Motifs

[00:15:47] And little

[00:15:48] Laughs

[00:15:49] And little

[00:15:49] Giggles

[00:15:50] That went

[00:15:51] Around

[00:15:51] That

[00:15:54] Sort of

[00:15:55] Unsettled

[00:15:55] You

[00:15:55] Little

[00:15:56] Things

[00:15:56] Would

[00:15:56] Happen

[00:15:56] There

[00:15:56] Were

[00:15:57] These

[00:15:57] Little

[00:16:00] Micro

[00:16:00] Scenes

[00:16:01] So we

[00:16:01] Had

[00:16:02] Horrorland

[00:16:03] Where there

[00:16:04] Was a

[00:16:04] Musical

[00:16:05] Moment

[00:16:06] That was

[00:16:06] Very

[00:16:06] Interactive

[00:16:07] We had

[00:16:09] A lift

[00:16:10] Sequence

[00:16:10] Where a

[00:16:11] Monster

[00:16:12] Grabbed

[00:16:12] You

[00:16:12] In the

[00:16:12] Lift

[00:16:13] We had

[00:16:13] A grave

[00:16:14] Digging

[00:16:14] Sequence

[00:16:15] We had

[00:16:15] A ghost

[00:16:16] Story

[00:16:17] In a

[00:16:17] Tent

[00:16:18] These

[00:16:18] Little

[00:16:18] Pocket

[00:16:19] Experiences

[00:16:19] That were

[00:16:20] Happening

[00:16:20] At the

[00:16:21] Same

[00:16:21] Time

[00:16:21] That were

[00:16:22] Really

[00:16:22] About

[00:16:23] The

[00:16:24] Interactive

[00:16:25] Quality

[00:16:27] As well

[00:16:27] As these

[00:16:28] Larger

[00:16:28] Stories

[00:16:30] But all

[00:16:30] The way

[00:16:31] Through

[00:16:31] There was

[00:16:32] This

[00:16:33] Super

[00:16:33] Narrative

[00:16:34] That was

[00:16:34] Slightly

[00:16:34] Woven

[00:16:35] In

[00:16:35] Around

[00:16:36] Of

[00:16:36] Course

[00:16:37] Slappy

[00:16:39] So Slappy

[00:16:40] Would

[00:16:40] Appear

[00:16:42] In

[00:16:42] Various

[00:16:44] Incarnations

[00:16:45] Throughout the

[00:16:46] show

[00:16:46] Sometimes

[00:16:46] As a

[00:16:47] Placid

[00:16:48] Doll

[00:16:49] On the

[00:16:49] Stage

[00:16:49] Sometimes

[00:16:50] A box

[00:16:50] Labeled

[00:16:51] With Slappy

[00:16:51] He would

[00:16:52] Appear

[00:16:53] And disappear

[00:16:53] And

[00:16:54] Strange

[00:16:55] Things

[00:16:56] Unexplained

[00:16:56] Things

[00:16:57] Would

[00:17:07] And

[00:17:08] It was

[00:17:08] Slappy

[00:17:09] Slappy's

[00:17:10] Slappy's

[00:17:10] Finale

[00:17:11] And it

[00:17:11] Was

[00:17:12] Very

[00:17:12] Much

[00:17:12] About

[00:17:12] Him

[00:17:13] Punching

[00:17:13] Through

[00:17:14] Reality

[00:17:14] And

[00:17:14] Pulling

[00:17:15] You

[00:17:15] In

[00:17:15] And the

[00:17:16] Slappy

[00:17:16] That you'd

[00:17:17] Seen

[00:17:17] In the

[00:17:17] Previous

[00:17:17] Durations

[00:17:18] Started scaling

[00:17:19] Up and scaling

[00:17:19] Up and scaling

[00:17:20] Up until

[00:17:21] Eventually we

[00:17:23] Had

[00:17:24] Multiple

[00:17:25] Slappy's

[00:17:26] And

[00:17:27] A

[00:17:29] 30

[00:17:29] Foot

[00:17:30] Giant

[00:17:31] Slappy

[00:17:32] That

[00:17:32] Burst

[00:17:33] Out of

[00:17:33] The

[00:17:34] Smoke

[00:17:34] And the

[00:17:35] Darkness

[00:17:35] And ran

[00:17:36] Towards

[00:17:37] The audience

[00:17:37] So

[00:17:38] That was

[00:17:39] The spark

[00:17:40] That is

[00:17:41] Really cool

[00:17:42] And I

[00:17:43] Was curious

[00:17:43] Because

[00:17:44] You know

[00:17:44] There are

[00:17:46] So many

[00:17:46] I believe

[00:17:47] It said

[00:17:47] There was

[00:17:47] Like

[00:17:48] 19

[00:17:48] Different

[00:17:49] Rooms

[00:17:50] Each

[00:17:50] With a

[00:17:51] Reference

[00:17:51] To a

[00:17:51] Goosebumps

[00:17:52] Book

[00:17:52] And it's

[00:17:53] So cool

[00:17:53] That there

[00:17:53] Are so

[00:17:54] Many

[00:17:54] Different

[00:17:55] References

[00:17:56] You know

[00:17:57] You have

[00:17:57] Your

[00:17:57] Main

[00:17:58] Stage

[00:17:58] You know

[00:17:59] Like

[00:18:00] Slappy

[00:18:00] Of course

[00:18:01] Is a

[00:18:02] Goosebumps

[00:18:03] Tradition

[00:18:03] To put

[00:18:04] Him

[00:18:04] In

[00:18:04] But then

[00:18:05] You had

[00:18:05] The

[00:18:05] Haunted

[00:18:06] Mask

[00:18:06] But then

[00:18:07] You also

[00:18:08] Had

[00:18:08] Stuff like

[00:18:09] The Blob

[00:18:10] That Ate

[00:18:11] Everyone

[00:18:11] Or

[00:18:12] The Scarecrow

[00:18:13] Walks

[00:18:14] At Midnight

[00:18:14] Or

[00:18:14] Stay Out

[00:18:15] Of The

[00:18:15] Basement

[00:18:15] Books

[00:18:16] That

[00:18:17] You don't

[00:18:19] Normally

[00:18:19] See those

[00:18:20] In

[00:18:20] Big

[00:18:21] Scale

[00:18:21] Adaptation

[00:18:22] So

[00:18:22] It's

[00:18:22] So cool

[00:18:23] That you

[00:18:23] Can

[00:18:24] Goal

[00:18:24] Into the

[00:18:25] Goosebumps

[00:18:25] Franchise

[00:18:26] And pull out

[00:18:26] Those different

[00:18:27] Stories and make

[00:18:28] Something new with them which is really interesting and I love the idea of slappy

[00:18:35] Sort of like trying to punch through reality I love that idea and just the fact that the deeper you go in the more his influence like sort of takes over like that's an amazing idea

[00:18:47] Yeah

[00:18:47] Well that's very kind of you

[00:18:49] What

[00:18:50] What

[00:19:19] Full on scenes

[00:19:20] Full on scenes

[00:19:21] Full on scenes

[00:19:21] Full on scenes

[00:19:21] Full on scenes

[00:19:23] Little clues around the place that related to other Goosebumps stories so if you were a real big Goosebumps fan you could spot like an article from one of the other stories like maybe up on a shelf and the junk shop we had in Save Cheese and Die was a really good place for hiding lots of goosebumps detail and sort of sometimes memorabilia sometimes clues to other stories

[00:19:46] So really it was a kind of love letter to the Goosebumps universe

[00:19:52] A lot of that of course was lost on people because as soon as you cram everyone in a room and someone's there and you're faced talking like you're captivated you know that's all that's happening

[00:20:01] But for those people that you know find immersive theatre more of a like a thoughtful place and they could like they had a whole sort of world to explore and and you know we had lots of return visitors because as I said there were different routes to take and different stories to see

[00:20:20] So yeah it was really exciting

[00:20:23] Well again the idea of a maze of Goosebumps is a really good one because you get to really get into the stories in a way that hasn't really been done before

[00:20:35] So when it came to I guess one thing I'll bring up really quick is that this show also had a pretty interesting soundtrack

[00:20:43] The band the Tiger Lilies did an entire album worth of Goosebumps related songs

[00:20:50] I actually had listened to the songs before I knew they were tied to this show so it's pretty interesting

[00:20:57] Was there any process in getting them on board and them making the songs?

[00:21:02] I don't know if you would happen to know

[00:21:05] I don't know the details of it

[00:21:07] I know that Kieran is a very brilliantly bold human so he approached the Tiger Lilies and they said yes

[00:21:20] He approached Tom and Gabe and they said yes

[00:21:23] We even approached Henson and we looked at

[00:21:32] We engaged Henson in a quoting process for the show

[00:21:36] Jim Henson's Creature Workshop

[00:21:39] And they were really up for it

[00:21:41] But unfortunately our budget couldn't quite manage what it was that they were proposing

[00:21:46] And in the end I've worked with lots of incredible puppet makers

[00:21:49] And mask makers

[00:21:55] And I'd like to talk a little bit about the masks in a minute

[00:21:57] But you know the Tiger Lilies were another just incredible component that Kieran sort of reached out to

[00:22:04] And like stuffed into the show

[00:22:07] And they were fantastic

[00:22:08] The pieces they did were the perfect

[00:22:13] The sort of perfect quality of like mischievous fairground nostalgia

[00:22:19] With like a sort of modern

[00:22:22] Sort of bombastic

[00:22:26] Unsettling quality as well

[00:22:28] Well that's always the thing about Goosebumps is that

[00:22:31] And I was actually about to say

[00:22:33] Was the Tiger Lilies songs

[00:22:35] And like I said I've listened to them

[00:22:37] Certainly have that sort of creepy feeling to them

[00:22:40] But they also as you said have that bit of mischief in it

[00:22:42] And that's exactly what Goosebumps is

[00:22:43] It's that mixture of horror and humor

[00:22:46] You can't have one without the other

[00:22:49] And that's what makes it so unique

[00:22:51] And that's what I personally believe made it so successful

[00:22:53] In terms of kids reading it

[00:22:55] Is you have the horror

[00:22:57] But you also have that bit of the goofy angle

[00:23:00] That sort of maybe takes a little bit of the edge off

[00:23:03] So things don't become too scary for kids

[00:23:06] Which was always just like the secret formula

[00:23:09] To those books

[00:23:10] And why I personally believe they became so popular

[00:23:13] So it's a crucial component

[00:23:15] In just about everything Goosebumps related

[00:23:17] Is to make sure you have that balance of horror and humor

[00:23:21] I believe we mentioned this when we talked about

[00:23:23] The aforementioned Goosebumps musical

[00:23:25] With Danny and John

[00:23:26] We talked about how

[00:23:27] The reason that project worked so well

[00:23:30] Is because again it had that

[00:23:31] Mixer of the humor and horror

[00:23:34] Now to be fair

[00:23:35] That musical is a little more geared towards kids

[00:23:38] Than Goosebumps Alive is

[00:23:40] But again even for adults

[00:23:42] You need to have that certain blend

[00:23:44] That makes it feel like Goosebumps

[00:23:46] In just about every single way

[00:23:48] So I personally agree

[00:23:50] So I was waiting to get to the mask part too

[00:23:52] Because I'm a big mask collector

[00:23:54] Masks are my things

[00:23:55] So you know

[00:23:57] And with Goosebumps Alive

[00:23:59] Because there's not like a ton of stuff out there

[00:24:02] About it

[00:24:02] I'm definitely interested in the masks

[00:24:05] And the mask making process

[00:24:07] Like how you guys took what the book covers were

[00:24:11] Or maybe the 90s show

[00:24:12] But then how you transitioned that

[00:24:14] To make it your own thing for your show

[00:24:18] Well

[00:24:19] So I suppose first of all

[00:24:21] There was a design process

[00:24:22] I should say at this stage

[00:24:23] In terms of all the characters

[00:24:24] I also worked with a fantastic costume designer

[00:24:29] Called Susan Kulkarni

[00:24:30] Who worked on all the costumes for the show

[00:24:35] A lot of them were

[00:24:36] As I said

[00:24:37] Very contemporary

[00:24:38] Very relatable

[00:24:39] But amongst them

[00:24:41] Of course

[00:24:41] Were these fantastic characters

[00:24:43] That sort of like

[00:24:43] You know

[00:24:45] Were strange and unusual

[00:24:48] The

[00:24:48] I work a lot in puppets

[00:24:51] In puppetry

[00:24:53] And have always had a sort of

[00:24:55] Quite macabre

[00:24:56] Like aesthetic

[00:24:57] When it came to those things

[00:25:01] We mentioned Alice's Adventures Underground

[00:25:04] The year before

[00:25:05] With Liz en Fontaine Cerebla

[00:25:06] That was

[00:25:07] That was

[00:25:07] A

[00:25:08] A

[00:25:09] A grotesque

[00:25:10] Sort of

[00:25:11] Children's

[00:25:15] Sort of

[00:25:16] It was

[00:25:17] You know

[00:25:17] It was a reimagining

[00:25:18] Alice is the perfect example

[00:25:20] Of

[00:25:20] Of something that is

[00:25:21] On the surface

[00:25:22] Very childlike

[00:25:23] And very entertaining

[00:25:24] But actually

[00:25:24] Is kind of

[00:25:25] Very dark

[00:25:26] And very mischievous

[00:25:27] And relates to our

[00:25:28] Like our modern world

[00:25:29] So with

[00:25:31] Goosebumps

[00:25:33] We had of course

[00:25:34] Amazing source material

[00:25:37] I was aware

[00:25:38] Of referencing

[00:25:39] The visuals

[00:25:40] From the books

[00:25:42] And things

[00:25:43] But not too heavily

[00:25:44] I wanted our story

[00:25:45] To tell

[00:25:46] Its own

[00:25:48] Tale

[00:25:48] And

[00:25:50] So I enjoyed

[00:25:51] Looking for like

[00:25:52] Taking the colour palettes

[00:25:54] From certain things

[00:25:55] And exploring them

[00:25:56] And playing with them

[00:25:57] Doing lots of drawings

[00:25:59] And then we had

[00:26:01] The

[00:26:03] Overall character

[00:26:05] Designed to consider

[00:26:06] Now

[00:26:07] I

[00:26:09] Haven't before

[00:26:10] Or since

[00:26:12] Worked

[00:26:13] In

[00:26:13] Like

[00:26:14] Latex mask

[00:26:15] Form

[00:26:16] But for this

[00:26:17] Show

[00:26:18] It was

[00:26:19] Perfect

[00:26:20] It was

[00:26:21] I really believe

[00:26:22] In like

[00:26:23] The right

[00:26:23] Thing

[00:26:23] For the

[00:26:24] Right

[00:26:24] Reason

[00:26:25] And for

[00:26:26] Goosebumps

[00:26:27] Particularly

[00:26:28] For the

[00:26:28] Scarecrows

[00:26:29] Particularly

[00:26:30] For Slappy

[00:26:31] And then of course

[00:26:32] The Haunted

[00:26:33] Mask

[00:26:34] That

[00:26:35] Halloween

[00:26:37] Aesthetic

[00:26:38] Of like

[00:26:39] A mask

[00:26:40] Wearing

[00:26:42] Person

[00:26:42] Really

[00:26:44] Fitted

[00:26:45] Beautifully

[00:26:45] With everything

[00:26:46] We were doing

[00:26:46] And it felt

[00:26:48] Like

[00:26:48] It felt

[00:26:49] Like you

[00:26:49] Were involved

[00:26:50] In a sort

[00:26:51] Of like

[00:26:52] Halloween

[00:26:52] Story

[00:26:53] And

[00:26:54] Even the

[00:26:55] Rubberiness

[00:26:56] Of the

[00:26:56] Masks

[00:26:57] I think

[00:26:57] Really

[00:26:57] Helped

[00:26:58] It wasn't

[00:26:59] We weren't

[00:27:00] Trying to be

[00:27:00] Too

[00:27:01] Authentic

[00:27:02] We were

[00:27:02] Trying to

[00:27:02] Be

[00:27:03] Playful

[00:27:04] And

[00:27:04] Engaging

[00:27:05] So we

[00:27:06] Could get

[00:27:06] Really

[00:27:07] Grotesque

[00:27:08] With the

[00:27:09] Masks

[00:27:09] And the

[00:27:09] Scarecruz

[00:27:10] These sort

[00:27:10] Of

[00:27:10] Collapsed

[00:27:11] Pumpkins

[00:27:11] And

[00:27:12] Things

[00:27:13] And we

[00:27:13] Could go

[00:27:13] Really

[00:27:14] Nasty

[00:27:14] With them

[00:27:15] Because

[00:27:15] There was

[00:27:15] A sort

[00:27:16] Of

[00:27:16] Playfulness

[00:27:16] To the

[00:27:16] Whole

[00:27:17] Execution

[00:27:18] And in

[00:27:20] Finding

[00:27:21] The right

[00:27:21] Process

[00:27:22] For this

[00:27:23] I got

[00:27:24] In touch

[00:27:24] With an

[00:27:24] Amazing

[00:27:25] Mask

[00:27:25] Maker

[00:27:27] Who

[00:27:27] Lived

[00:27:28] In my

[00:27:29] Part of

[00:27:29] Town

[00:27:30] Called

[00:27:31] Tom

[00:27:31] Howell

[00:27:32] Who runs

[00:27:33] A company

[00:27:33] Called the

[00:27:33] Ministry

[00:27:34] Of

[00:27:34] Masks

[00:27:34] And they

[00:27:35] Do all

[00:27:36] Sorts

[00:27:36] Of

[00:27:37] Extraordinary

[00:27:37] Things

[00:27:37] I bought

[00:27:38] A beautiful

[00:27:38] Princess

[00:27:38] Mononoke

[00:27:39] Mask

[00:27:39] From him

[00:27:40] He does

[00:27:41] Bane

[00:27:41] Masks

[00:27:44] He's

[00:27:45] Obviously

[00:27:45] Done some

[00:27:45] Fun

[00:27:46] Political

[00:27:47] Masks

[00:27:47] He's

[00:27:48] Done a

[00:27:48] Great

[00:27:48] Mickey

[00:27:49] Mouse

[00:27:50] Punked

[00:27:51] Up

[00:27:52] And

[00:27:53] I did

[00:27:54] A series

[00:27:54] Of drawings

[00:27:54] For him

[00:27:55] And then

[00:27:56] He works

[00:27:56] These masks

[00:27:57] Up

[00:27:58] Larger

[00:27:59] Than size

[00:27:59] In

[00:28:00] Clay

[00:28:01] And

[00:28:02] Does

[00:28:02] These

[00:28:02] Beautiful

[00:28:03] Clay

[00:28:03] Sculpts

[00:28:04] Of them

[00:28:04] And we'd

[00:28:05] Go in

[00:28:05] And we'd

[00:28:06] Note them

[00:28:06] And make

[00:28:06] Changes

[00:28:07] And he

[00:28:08] Was

[00:28:08] Very

[00:28:11] Open

[00:28:12] To

[00:28:12] Collaborating

[00:28:13] And evolving

[00:28:14] Things

[00:28:14] And then he

[00:28:15] Cast them

[00:28:16] In these

[00:28:16] Great big

[00:28:17] Beautiful

[00:28:17] Plaster

[00:28:18] Cast

[00:28:18] He made

[00:28:19] Fill

[00:28:19] These

[00:28:20] Things

[00:28:20] Up

[00:28:20] With

[00:28:20] Latex

[00:28:20] The

[00:28:21] Plaster

[00:28:21] Takes

[00:28:22] The

[00:28:23] Moisture

[00:28:24] Out

[00:28:24] Of

[00:28:24] Latex

[00:28:24] And you

[00:28:24] Get

[00:28:24] This

[00:28:25] Brilliant

[00:28:25] Rubber

[00:28:26] Head

[00:28:27] And so

[00:28:27] He did

[00:28:28] Slappy

[00:28:28] The pumpkins

[00:28:30] For

[00:28:30] Scarecrow

[00:28:31] Walks

[00:28:31] Were

[00:28:32] Just

[00:28:32] Exquisite

[00:28:33] Some

[00:28:33] Of

[00:28:33] The best

[00:28:35] Masks

[00:28:35] I've

[00:28:36] Ever

[00:28:36] Seen

[00:28:37] And of

[00:28:38] Course

[00:28:38] The slappy

[00:28:39] Ones

[00:28:40] Were

[00:28:40] Just

[00:28:40] Fantastic

[00:28:40] To

[00:28:42] We

[00:28:43] Worked

[00:28:44] On

[00:28:44] Different

[00:28:44] Looks

[00:28:45] For

[00:28:45] Slappy

[00:28:45] There

[00:28:45] Was

[00:28:46] Multiple

[00:28:47] Slappers

[00:28:47] Each

[00:28:47] One

[00:28:47] Had

[00:28:48] Different

[00:28:48] Colour

[00:28:48] Ways

[00:28:49] On

[00:28:49] Their

[00:28:49] Face

[00:28:49] Different

[00:28:50] Hair

[00:28:53] Using

[00:28:53] Different

[00:28:54] Fur

[00:28:54] Fabrics

[00:28:55] And

[00:28:55] Things

[00:28:55] Like

[00:28:55] That

[00:28:55] And so

[00:28:56] Really

[00:28:56] For

[00:28:57] This

[00:28:57] Show

[00:28:58] It

[00:28:59] Was

[00:28:59] The

[00:28:59] Perfect

[00:28:59] Collaboration

[00:29:00] Of

[00:29:01] Someone

[00:29:02] Who

[00:29:02] Understands

[00:29:03] A

[00:29:03] Ghoulish

[00:29:05] Masks

[00:29:06] Aesthetic

[00:29:06] Tom

[00:29:07] From

[00:29:08] Ministry

[00:29:08] Of

[00:29:08] Masks

[00:29:09] Over

[00:29:09] Here

[00:29:09] In

[00:29:10] London

[00:29:10] It's

[00:29:10] Just

[00:29:10] Really

[00:29:11] Fantastic

[00:29:11] Work

[00:29:13] Absolutely

[00:29:14] And

[00:29:15] I gotta

[00:29:16] Say

[00:29:16] When it

[00:29:16] Comes

[00:29:16] To

[00:29:16] The

[00:29:17] The

[00:29:18] Masks

[00:29:18] The

[00:29:19] Costumes

[00:29:19] The

[00:29:19] Sets

[00:29:20] Everything

[00:29:21] About

[00:29:21] This

[00:29:56] Are

[00:29:58] Set

[00:29:59] Just

[00:30:00] Love

[00:30:00] The

[00:30:00] Set

[00:30:00] Design

[00:30:01] For

[00:30:01] Every

[00:30:01] Single

[00:30:02] Individual

[00:30:02] Room

[00:30:03] So

[00:30:03] Like

[00:30:03] For

[00:30:03] Horrorland

[00:30:04] For

[00:30:04] Example

[00:30:05] It

[00:30:06] Is

[00:30:06] Like

[00:30:06] A

[00:30:06] Theme

[00:30:07] Park

[00:30:07] Aesthetic

[00:30:07] But

[00:30:08] Everything

[00:30:08] Looks

[00:30:08] Like

[00:30:08] Run

[00:30:09] Down

[00:30:10] And

[00:30:10] Abandon

[00:30:11] And

[00:30:12] It

[00:30:12] Just

[00:30:12] Adds

[00:30:12] To

[00:30:12] That

[00:30:13] Creepy

[00:30:13] Aesthetic

[00:30:13] Or

[00:30:27] This

[00:30:27] Old

[00:30:28] Farm

[00:30:29] Farm

[00:30:29] House

[00:30:30] And

[00:30:31] You're

[00:30:31] Like

[00:30:31] Surrounded

[00:30:32] By

[00:30:32] Those

[00:30:32] Corn

[00:30:32] Stocks

[00:30:33] Like

[00:30:33] That's

[00:30:33] A

[00:30:33] Really

[00:30:34] Freaky

[00:30:34] Image

[00:30:35] Is

[00:30:35] Just

[00:30:35] A

[00:30:35] House

[00:30:36] Surrounded

[00:30:36] By

[00:30:37] Corn

[00:30:37] Where

[00:30:37] Anything

[00:30:38] Can

[00:30:57] Fantastic

[00:30:58] In

[00:30:58] Their

[00:30:59] Ability

[00:30:59] To

[00:31:00] Take

[00:31:01] What

[00:31:01] I

[00:31:01] Was

[00:31:02] Proposing

[00:31:02] And

[00:31:02] Just

[00:31:03] Exaggerate

[00:31:03] It

[00:31:03] Stretch

[00:31:04] These

[00:31:04] Things

[00:31:04] So

[00:31:05] The

[00:31:05] Corn

[00:31:05] Maze

[00:31:05] All

[00:31:06] The

[00:31:07] Tunnels

[00:31:07] Were

[00:31:07] Limited

[00:31:07] To

[00:31:08] 8

[00:31:08] Metres

[00:31:08] Wide

[00:31:09] In

[00:31:10] To

[00:31:10] Make

[00:31:10] Them

[00:31:10] Feel

[00:31:10] Much

[00:31:11] Bigger

[00:31:11] And

[00:31:11] More

[00:31:12] Vast

[00:31:12] You

[00:31:13] Limit

[00:31:13] The

[00:31:13] Amount

[00:31:14] Of

[00:31:14] Space

[00:31:14] You

[00:31:14] Are

[00:31:14] To

[00:31:14] Spend

[00:31:15] Time

[00:31:15] In

[00:31:15] So

[00:31:15] You're

[00:31:15] Not

[00:31:16] Quite

[00:31:16] Sure

[00:31:16] Where

[00:31:16] The

[00:31:16] Edges

[00:31:17] Of

[00:31:17] The

[00:31:17] Space

[00:31:17] Are

[00:31:18] And

[00:31:18] Then

[00:31:18] We

[00:31:19] Have

[00:31:20] It

[00:31:20] With

[00:31:20] An

[00:31:20] Incredible

[00:31:23] Painting

[00:31:23] Technique

[00:31:25] Elaborated

[00:31:25] All

[00:31:25] Up

[00:31:25] The

[00:31:25] Walls

[00:31:26] With

[00:31:27] Paint

[00:31:27] To

[00:31:28] Make

[00:31:28] The

[00:31:28] Corn

[00:31:28] Like

[00:31:28] It

[00:31:29] Was

[00:31:29] Going

[00:31:29] On

[00:31:29] For

[00:31:31] Miles

[00:31:32] And

[00:31:41] The

[00:31:42] Elaborate

[00:31:42] Barn

[00:31:43] To

[00:31:59] Exaggerated

[00:31:59] Them

[00:32:00] Stretched

[00:32:01] Them

[00:32:01] The

[00:32:02] Corridors

[00:32:02] As

[00:32:03] You

[00:32:03] Walk

[00:32:03] Down

[00:32:03] Them

[00:32:03] Feel

[00:32:04] Like

[00:32:04] They

[00:32:04] Seem

[00:32:04] To

[00:32:04] Shift

[00:32:05] Under

[00:32:05] Feet

[00:32:06] We

[00:32:06] Used

[00:32:06] Lots

[00:32:07] Of

[00:32:07] Lovely

[00:32:07] Optical

[00:32:08] Illusions

[00:32:08] To

[00:32:09] Keep

[00:32:09] You

[00:32:10] Unsettled

[00:32:10] At

[00:32:11] All

[00:32:11] Times

[00:32:11] Where

[00:32:12] There

[00:32:13] Was

[00:32:13] An

[00:32:13] Opportunity

[00:32:13] For

[00:32:15] A

[00:32:16] Right

[00:32:16] Angle

[00:32:16] We

[00:32:16] Always

[00:32:17] Skewed

[00:32:17] It

[00:32:19] Like I

[00:32:20] Say

[00:32:20] It's

[00:32:21] Exaggerating

[00:32:21] Those

[00:32:21] To

[00:32:22] Make

[00:32:22] You

[00:32:22] Feel

[00:32:22] Like

[00:32:22] You're

[00:32:23] In

[00:32:23] Another

[00:32:23] World

[00:32:24] You

[00:32:24] Don't

[00:32:24] Feel

[00:32:24] Like

[00:32:25] You're

[00:32:25] In

[00:32:25] The

[00:32:25] Real

[00:32:25] World

[00:32:26] You

[00:32:26] Feel

[00:32:26] Like

[00:32:26] You're

[00:32:26] In

[00:32:26] A

[00:32:27] Big

[00:32:27] A

[00:32:28] Giant

[00:32:28] Nightmare

[00:32:29] That

[00:32:29] You

[00:32:41] As

[00:32:41] A

[00:32:42] Designer

[00:32:42] That's

[00:32:42] The

[00:32:42] Principle

[00:32:43] You

[00:32:43] Always

[00:32:43] Need

[00:32:43] To

[00:32:43] Work

[00:32:44] Under

[00:32:44] How

[00:32:45] Do

[00:32:45] You

[00:32:45] Draw

[00:32:46] A

[00:32:47] Great

[00:32:47] Big

[00:32:47] Line

[00:32:48] Around

[00:32:48] The

[00:32:48] World

[00:32:49] And

[00:32:49] The

[00:32:49] Rules

[00:32:49] Of

[00:32:49] The

[00:32:49] World

[00:32:50] So

[00:32:50] When

[00:32:51] Someone

[00:32:51] Is

[00:32:51] Inside

[00:32:52] It

[00:32:52] They're

[00:32:52] Immediately

[00:32:56] There

[00:32:56] They

[00:32:56] Have

[00:32:57] Everything

[00:32:57] They

[00:32:58] Need

[00:32:58] To

[00:32:58] Know

[00:32:58] How

[00:32:58] To

[00:32:58] Interact

[00:32:59] With

[00:32:59] It

[00:32:59] And

[00:33:00] How

[00:33:00] To

[00:33:01] Feel

[00:33:01] They

[00:33:02] Know

[00:33:03] Whether

[00:33:18] They're

[00:33:18] Going

[00:33:18] To

[00:33:26] Asks

[00:33:26] And

[00:33:27] Stuff

[00:33:27] After

[00:33:27] Production

[00:33:28] Was

[00:33:28] Wrapped

[00:33:28] Did

[00:33:29] You

[00:33:29] Get

[00:33:29] To

[00:33:29] Keep

[00:33:29] Anything

[00:33:29] Cool

[00:33:30] Or

[00:33:31] So

[00:33:32] I

[00:33:32] Did

[00:33:32] I

[00:33:32] Did

[00:33:32] Get

[00:33:33] A

[00:33:33] Few

[00:33:33] Bits

[00:33:34] And

[00:33:34] Pieces

[00:33:35] Yeah

[00:33:36] I

[00:33:36] Think

[00:33:36] Got

[00:33:36] One

[00:33:37] Of

[00:33:37] The

[00:33:37] Slappy

[00:33:37] Masks

[00:33:38] And

[00:33:38] These

[00:33:38] Amazing

[00:33:39] Casts

[00:33:40] Of

[00:33:40] The

[00:33:42] Slappy

[00:33:42] Masks

[00:33:43] That

[00:33:57] Into

[00:33:58] An

[00:33:59] Amazing

[00:33:59] Bar

[00:34:00] In

[00:34:00] Waterloo

[00:34:01] Called

[00:34:01] Vault

[00:34:02] Towers

[00:34:02] Which

[00:34:03] Was

[00:34:03] An

[00:34:03] Extension

[00:34:03] Of

[00:34:04] The

[00:34:05] Vault

[00:34:05] Business

[00:34:06] So

[00:34:07] On

[00:34:07] Lower

[00:34:07] Marsh

[00:34:08] By

[00:34:09] Waterloo

[00:34:10] Station

[00:34:10] Amongst

[00:34:11] The

[00:34:11] Sort

[00:34:11] Of

[00:34:11] Various

[00:34:12] Hotels

[00:34:12] That

[00:34:12] Have

[00:34:13] Been

[00:34:13] Popping

[00:34:13] Up

[00:34:13] And

[00:34:13] Fancy

[00:34:13] Coffee

[00:34:14] Shops

[00:34:14] There's

[00:34:14] This

[00:34:14] Bar

[00:34:15] Which

[00:34:15] Really

[00:34:15] Shouldn't

[00:34:16] exist

[00:34:16] And

[00:34:17] You

[00:34:18] Step

[00:34:18] In

[00:34:18] And

[00:34:19] Right

[00:34:19] Above

[00:34:19] Your

[00:34:19] Head

[00:34:20] These

[00:34:20] Great

[00:34:21] Big

[00:34:21] Hands

[00:34:22] From

[00:34:22] The

[00:34:22] Slappy

[00:34:23] Scene

[00:34:23] And

[00:34:25] There's

[00:34:26] A

[00:34:26] Tree

[00:34:26] House

[00:34:27] From

[00:34:27] Another

[00:34:28] Production

[00:34:28] I did

[00:34:28] Of

[00:34:28] Dinner

[00:34:29] At

[00:34:29] The

[00:34:29] Twips

[00:34:30] And

[00:34:31] There

[00:34:31] Is

[00:34:31] A

[00:34:32] Dead

[00:34:32] Monkey

[00:34:32] From

[00:34:33] The

[00:34:33] Same

[00:34:33] Production

[00:34:33] There's

[00:34:34] Bits

[00:34:34] Of

[00:34:34] Goosebumps

[00:34:35] Alice

[00:34:36] Wonderland

[00:34:38] Fantasia

[00:34:38] Which

[00:34:39] Was

[00:34:39] A

[00:34:49] You

[00:34:49] Saying

[00:34:50] About

[00:34:50] The

[00:34:50] Horrorland

[00:34:50] Set

[00:34:51] If

[00:34:51] You

[00:34:51] Imagine

[00:34:51] That

[00:34:52] Was

[00:34:54] Dense

[00:34:54] And

[00:34:55] Fun

[00:34:55] And

[00:34:55] Full

[00:34:56] Of

[00:34:56] Fairy

[00:34:56] Lights

[00:34:57] And

[00:34:57] Feathers

[00:34:59] And

[00:35:00] Various

[00:35:00] Sort

[00:35:00] Of

[00:35:00] Masks

[00:35:01] And

[00:35:01] Costumes

[00:35:02] From

[00:35:02] Pantomimes

[00:35:03] And

[00:35:03] All

[00:35:03] The

[00:35:03] Rest

[00:35:03] Of

[00:35:03] It

[00:35:03] That's

[00:35:04] What

[00:35:04] Volte

[00:35:05] Towers

[00:35:05] Is

[00:35:05] Like

[00:35:05] So

[00:35:06] It's

[00:35:06] A

[00:35:06] Little

[00:35:06] Bit

[00:35:06] Of

[00:35:07] A

[00:35:07] Portfolio

[00:35:08] You

[00:35:19] Like

[00:35:20] It

[00:35:20] Still

[00:35:20] Exists

[00:35:21] And

[00:35:21] Is

[00:35:21] Still

[00:35:22] Cherished

[00:35:23] In

[00:35:23] A

[00:35:23] Way

[00:35:24] One

[00:35:24] Of

[00:35:25] My

[00:35:25] Greatest

[00:35:25] Fears

[00:35:26] When

[00:35:26] It

[00:35:26] Comes

[00:35:26] To

[00:35:26] These

[00:35:26] Live

[00:35:27] Productions

[00:35:27] And

[00:35:27] That

[00:35:27] Things

[00:35:28] Just

[00:35:28] Get

[00:35:28] Discarded

[00:35:30] You

[00:35:30] Know

[00:35:31] These

[00:35:31] Bits

[00:35:32] Of

[00:35:32] History

[00:35:32] Like

[00:35:33] Really

[00:35:33] They

[00:35:33] Are

[00:35:35] You

[00:35:35] Know

[00:35:35] Just

[00:35:35] Get

[00:35:36] Thrown

[00:35:36] Away

[00:35:37] Not

[00:35:37] A

[00:35:38] Second

[00:35:38] Thought

[00:35:38] About

[00:35:38] It

[00:35:38] And

[00:35:39] It

[00:35:39] Really

[00:35:39] Stinks

[00:35:39] So

[00:35:39] To

[00:35:40] Hear

[00:35:40] That

[00:35:41] It

[00:35:41] Can

[00:35:41] Be

[00:35:42] Set

[00:35:42] Up

[00:35:42] For

[00:35:43] You

[00:35:43] Know

[00:35:43] People

[00:35:44] To

[00:35:44] See

[00:35:44] For

[00:35:45] Years

[00:35:45] To

[00:35:45] Come

[00:35:46] Is

[00:35:46] Very

[00:35:48] Relieving

[00:35:49] Thing

[00:35:49] To

[00:36:08] To

[00:36:08] Last

[00:36:08] So

[00:36:09] The

[00:36:09] Stuff

[00:36:09] Was

[00:36:10] Just

[00:36:10] Like

[00:36:10] Pretty

[00:36:11] Much

[00:36:11] Done

[00:36:11] Right

[00:36:12] After

[00:36:12] They

[00:36:13] Shot

[00:36:13] It

[00:36:13] For

[00:36:13] That

[00:36:14] Episode

[00:36:14] And

[00:36:14] It's

[00:36:15] Kind

[00:36:15] Of

[00:36:15] Sad

[00:36:15] To

[00:36:15] Hear

[00:36:16] That

[00:36:16] And

[00:36:16] Then

[00:36:17] See

[00:36:17] Some

[00:36:17] Of

[00:36:17] The

[00:36:17] Stuff

[00:36:17] Today

[00:36:18] But

[00:36:18] Again

[00:36:19] Stuff

[00:36:19] Wasn't

[00:36:19] Meant

[00:36:20] To

[00:36:20] Last

[00:36:21] But

[00:36:22] A

[00:36:22] Lot

[00:36:22] Of

[00:36:22] It

[00:36:22] Even

[00:36:23] Down

[00:36:24] To

[00:36:24] Tim

[00:36:25] Jacobus

[00:36:26] Original

[00:36:26] Artwork

[00:36:27] That

[00:36:38] Like

[00:36:38] Like

[00:36:39] Why

[00:36:40] Won't

[00:36:40] You

[00:36:40] Have

[00:36:41] That

[00:36:41] On

[00:36:41] Display

[00:36:41] For

[00:36:42] People

[00:36:42] To

[00:36:42] See

[00:36:42] Or

[00:36:43] Have

[00:36:44] It

[00:36:44] Travel

[00:36:45] You

[00:36:46] Know

[00:36:46] Like

[00:36:46] Through

[00:36:46] Different

[00:36:47] Like

[00:36:47] For

[00:36:48] Instance

[00:36:48] Where

[00:36:48] I

[00:36:49] Live

[00:36:49] In

[00:36:49] Indiana

[00:36:50] In

[00:36:51] Indianapolis

[00:36:51] There's

[00:36:52] Children's

[00:36:52] Museum

[00:36:53] And

[00:36:53] They

[00:36:53] Always

[00:36:53] Change

[00:36:54] Out

[00:36:55] Different

[00:36:56] Parts

[00:36:56] Of

[00:36:56] It

[00:36:57] Throughout

[00:36:57] The

[00:36:57] Year

[00:36:57] And

[00:36:58] A

[00:36:59] Lot

[00:36:59] Of

[00:36:59] It

[00:36:59] Does

[00:36:59] Have

[00:37:00] Like

[00:37:00] Historic

[00:37:01] Stuff

[00:37:01] In

[00:37:02] It

[00:37:02] You

[00:37:03] Know

[00:37:03] Like

[00:37:03] They

[00:37:03] Do

[00:37:03] A

[00:37:03] Super

[00:37:04] Hero

[00:37:04] One

[00:37:04] And

[00:37:04] Well

[00:37:04] There's

[00:37:05] Stuff

[00:37:05] From

[00:37:05] The

[00:37:05] Adam

[00:37:05] West

[00:37:06] Batman

[00:37:07] Show

[00:37:07] That

[00:37:07] Travels

[00:37:08] And

[00:37:08] Comes

[00:37:09] There

[00:37:09] They've

[00:37:09] Had

[00:37:09] Bat

[00:37:10] Mobiles

[00:37:10] There

[00:37:10] And

[00:37:10] Stuff

[00:37:11] Like

[00:37:11] That

[00:37:11] Or

[00:37:11] Scooby

[00:37:12] Doo

[00:37:12] And

[00:37:12] A

[00:37:12] Bunch

[00:37:12] Of

[00:37:12] Other

[00:37:13] Things

[00:37:13] That

[00:37:13] They

[00:37:13] Bring

[00:37:14] There

[00:37:14] From

[00:37:14] History

[00:37:15] But

[00:37:16] They've

[00:37:16] Never

[00:37:16] Done

[00:37:16] Goosebumps

[00:37:17] Which

[00:37:17] I

[00:37:17] Find

[00:37:18] Very

[00:37:18] Fascinating

[00:37:19] But

[00:37:20] Something

[00:37:20] Like

[00:37:20] That

[00:37:20] Would

[00:37:21] Be

[00:37:21] Really

[00:37:22] Great

[00:37:22] If

[00:37:23] The

[00:37:23] Public

[00:37:23] Could

[00:37:23] See

[00:37:23] This

[00:37:23] Stuff

[00:37:24] So

[00:37:25] It's

[00:37:26] Really

[00:37:26] Nice

[00:37:26] To

[00:37:27] Get

[00:37:29] Some

[00:37:30] Definitely

[00:37:31] That

[00:37:32] Would

[00:37:32] Be

[00:37:32] Pretty

[00:37:32] In

[00:37:33] Terms

[00:37:34] Of

[00:37:35] Preserving

[00:37:35] Things

[00:37:36] Like

[00:37:36] This

[00:37:36] I

[00:37:36] Think

[00:37:37] You

[00:37:37] Need

[00:37:37] First

[00:37:38] Of

[00:37:53] Pouring

[00:37:53] Into

[00:37:54] The

[00:37:54] Planet

[00:37:54] So

[00:37:55] People

[00:37:55] Are

[00:37:55] Trying

[00:37:55] To

[00:37:55] Make

[00:37:55] Things

[00:37:55] A

[00:37:56] Little

[00:37:56] More

[00:37:56] Long

[00:37:56] Lasting

[00:37:57] In

[00:37:57] Terms

[00:37:57] Of

[00:37:59] You

[00:38:00] Know

[00:38:00] I

[00:38:01] Don't

[00:38:01] Know

[00:38:01] Like

[00:38:04] So

[00:38:05] Like

[00:38:05] Gadgets

[00:38:05] And

[00:38:06] Tech

[00:38:06] And

[00:38:06] Things

[00:38:06] People

[00:38:06] Are

[00:38:07] Trying

[00:38:07] To

[00:38:07] Make

[00:38:07] Them

[00:38:07] More

[00:38:07] Long

[00:38:07] Lasting

[00:38:08] Than

[00:38:08] They

[00:38:08] Used

[00:38:09] To

[00:38:09] Be

[00:38:09] Disposable

[00:38:10] Then

[00:38:11] The

[00:38:11] Next

[00:38:11] Thing

[00:38:11] Is

[00:38:12] Production

[00:38:12] Budgets

[00:38:13] Usually

[00:38:13] Mean

[00:38:14] Things

[00:38:15] Have

[00:38:15] To

[00:38:15] Made

[00:38:15] How

[00:38:16] They

[00:38:16] Made

[00:38:17] For

[00:38:17] That

[00:38:17] Moment

[00:38:18] And

[00:38:18] They

[00:38:18] Might

[00:38:18] Not

[00:38:19] Last

[00:38:19] But

[00:38:19] In

[00:38:20] Terms

[00:38:20] Of

[00:38:20] Archiving

[00:38:21] Things

[00:38:21] Like

[00:38:21] Artwork

[00:38:22] And

[00:38:22] Imagery

[00:38:24] Someone

[00:38:24] Is

[00:38:24] To

[00:38:25] Kept

[00:38:26] It

[00:38:39] And

[00:38:42] The

[00:38:44] Things

[00:38:44] In

[00:38:44] The

[00:38:45] World

[00:38:45] To

[00:38:45] Shown

[00:38:45] But

[00:38:45] Without

[00:38:46] One

[00:38:46] Person

[00:38:46] Talking

[00:38:47] To

[00:38:47] Another

[00:38:47] Person

[00:38:48] They're

[00:38:49] Never

[00:38:49] Going

[00:38:49] To

[00:38:50] Get

[00:38:51] Out

[00:38:52] There

[00:38:52] Because

[00:38:53] Connection

[00:38:54] Makes

[00:38:54] The

[00:38:54] Opportunity

[00:38:55] For

[00:38:55] These

[00:38:55] Things

[00:38:55] To

[00:38:56] Be

[00:38:56] Shown

[00:38:56] So

[00:38:57] You

[00:38:58] Guys

[00:38:58] Are

[00:38:58] Amazing

[00:38:59] Archivists

[00:39:00] Of

[00:39:00] All

[00:39:00] Of

[00:39:00] The

[00:39:00] Goosebumps

[00:39:01] Merch

[00:39:02] That

[00:39:03] I

[00:39:03] Can

[00:39:03] See

[00:39:03] Around

[00:39:03] You

[00:39:04] And

[00:39:04] We

[00:39:04] Were

[00:39:04] Talking

[00:39:05] A

[00:39:05] Little

[00:39:05] Bit

[00:39:05] About

[00:39:05] Before

[00:39:06] We

[00:39:06] Started

[00:39:06] Recording

[00:39:07] But

[00:39:07] That's

[00:39:07] Really

[00:39:08] It's

[00:39:09] Really

[00:39:09] Important

[00:39:10] To

[00:39:10] Preserve

[00:39:11] Not

[00:39:12] Only

[00:39:12] The

[00:39:14] Product

[00:39:14] Side

[00:39:15] Of

[00:39:15] Things

[00:39:15] The

[00:39:15] Commercially

[00:39:16] Available

[00:39:17] Side

[00:39:17] Of

[00:39:17] Things

[00:39:17] But

[00:39:18] Also

[00:39:18] Like

[00:39:18] You

[00:39:18] Say

[00:39:18] The

[00:39:18] Memories

[00:39:19] And

[00:39:19] The

[00:39:21] Original

[00:39:21] Materials

[00:39:22] Where

[00:39:22] Possible

[00:39:23] Absolutely

[00:39:25] It's

[00:39:25] Important

[00:39:25] Again

[00:39:26] It

[00:39:34] Especially

[00:39:35] When

[00:39:35] It

[00:39:35] Comes

[00:39:35] To

[00:39:36] The

[00:39:37] Stuff

[00:39:37] That

[00:39:37] You

[00:39:37] Do

[00:39:38] You

[00:39:39] Know

[00:39:39] That

[00:39:39] Stuff

[00:39:40] Is

[00:39:40] Not

[00:39:40] Easy

[00:39:40] And

[00:39:41] You

[00:39:42] Don't

[00:39:42] Want

[00:39:43] All

[00:39:43] That

[00:39:43] Work

[00:39:43] To

[00:39:44] Go

[00:39:44] To

[00:39:44] Waste

[00:39:45] No

[00:39:46] Matter

[00:39:46] The

[00:39:46] Situation

[00:39:46] So

[00:39:47] Anytime

[00:39:48] That

[00:39:48] Something

[00:39:48] Like

[00:39:49] That

[00:39:49] Can

[00:39:49] Happen

[00:39:49] Where

[00:39:49] It

[00:39:50] Can

[00:39:50] Be

[00:39:50] Repurposed

[00:39:51] Or

[00:39:51] Reused

[00:39:51] Or

[00:39:52] Displayed

[00:39:53] For

[00:39:53] All

[00:39:53] To

[00:39:53] See

[00:39:54] I

[00:39:55] Think

[00:39:55] Is

[00:39:55] Quite

[00:39:56] A

[00:39:56] Win

[00:39:56] For

[00:39:57] Anything

[00:39:57] Because

[00:39:57] It

[00:39:58] Always

[00:39:59] Stinks

[00:39:59] When

[00:39:59] Somebody

[00:40:00] Hard

[00:40:00] Work

[00:40:00] Goes

[00:40:00] To

[00:40:01] Waste

[00:40:01] And

[00:40:02] I

[00:40:02] Don't

[00:40:03] Think

[00:40:03] Anybody

[00:40:03] Wants

[00:40:03] That

[00:40:04] For

[00:40:04] Anything

[00:40:05] They

[00:40:05] Make

[00:40:05] So

[00:40:07] It's

[00:40:07] Always

[00:40:08] Relieving

[00:40:08] To

[00:40:08] Hear

[00:40:08] Something

[00:40:09] Like

[00:40:09] That

[00:40:09] Good

[00:40:10] My

[00:40:11] Next

[00:40:11] Question

[00:40:12] Is

[00:40:12] So

[00:40:13] We

[00:40:13] Know

[00:40:13] A lot

[00:40:14] About

[00:40:14] Sort

[00:40:14] Of

[00:40:14] The

[00:40:14] Adult

[00:40:15] Experience

[00:40:15] But

[00:40:16] As

[00:40:16] I

[00:40:16] Said

[00:40:16] Earlier

[00:40:16] There

[00:40:17] Was

[00:40:17] A

[00:40:17] More

[00:40:18] Kid

[00:40:18] Friendly

[00:40:19] Version

[00:40:19] Of

[00:40:20] This

[00:40:20] Experience

[00:40:21] I

[00:40:22] I've

[00:40:22] Heard

[00:40:22] Many

[00:40:23] Different

[00:40:23] Names

[00:40:24] For

[00:40:24] It

[00:40:24] I

[00:40:24] I've

[00:40:24] Heard

[00:40:25] It

[00:40:25] Was

[00:40:25] Just

[00:40:25] Called

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[00:40:25] Bump

[00:40:25] Kids

[00:40:26] I've

[00:40:26] Heard

[00:40:27] Another

[00:40:27] Name

[00:40:27] Called

[00:40:27] Museum

[00:40:28] Of

[00:40:28] The

[00:40:28] Weird

[00:40:28] Can

[00:40:29] You

[00:40:29] Tell

[00:40:29] Us

[00:40:30] A

[00:40:30] Little

[00:40:30] Bit

[00:40:30] About

[00:40:30] That

[00:40:31] Side

[00:40:31] Of

[00:40:32] The

[00:40:32] Attraction

[00:40:33] Yes

[00:40:33] So

[00:40:35] The

[00:40:36] Production

[00:40:36] Was

[00:40:36] Called

[00:40:37] Goose

[00:40:38] Bump

[00:40:38] Kids

[00:40:39] And

[00:40:40] When

[00:40:40] You

[00:40:40] Arrived

[00:40:40] For

[00:40:41] The

[00:40:41] Production

[00:40:41] You

[00:40:42] Were

[00:40:42] Welcome

[00:40:42] To

[00:40:43] What

[00:40:43] They

[00:40:43] Were

[00:40:43] Calling

[00:40:43] The

[00:40:44] Museum

[00:40:44] Of

[00:40:44] The

[00:40:44] Weird

[00:40:45] So

[00:40:45] You

[00:40:45] Immediately

[00:40:45] Enter

[00:40:47] A

[00:40:51] Performance

[00:40:52] Space

[00:40:52] Where

[00:40:53] There

[00:40:53] Where

[00:40:54] The

[00:40:56] Museum

[00:40:56] And

[00:40:56] This

[00:40:57] Museum

[00:40:57] Was

[00:40:57] Full

[00:40:57] Of

[00:40:58] All

[00:40:58] These

[00:40:58] Objects

[00:40:59] And

[00:40:59] Artifacts

[00:41:00] And

[00:41:01] Each

[00:41:02] Where

[00:41:02] It

[00:41:03] Differed

[00:41:03] From

[00:41:03] The

[00:41:03] Adult

[00:41:03] Production

[00:41:04] Is

[00:41:05] For

[00:41:05] The

[00:41:07] Consistent

[00:41:08] Experience

[00:41:08] Of

[00:41:08] The

[00:41:08] Kids

[00:41:09] They

[00:41:09] Were

[00:41:09] Led

[00:41:09] Through

[00:41:10] The

[00:41:10] Space

[00:41:12] With

[00:41:12] A

[00:41:13] Performer

[00:41:14] Who

[00:41:15] Was

[00:41:15] Their

[00:41:15] Guide

[00:41:16] Throughout

[00:41:16] The

[00:41:16] Entire

[00:41:17] Thing

[00:41:17] It

[00:41:17] Was

[00:41:18] A

[00:41:18] Museum

[00:41:18] Curator

[00:41:20] Which

[00:41:21] Allowed

[00:41:23] Them

[00:41:24] To

[00:41:26] Through

[00:41:26] That

[00:41:26] Person

[00:41:27] And

[00:41:27] Also

[00:41:27] Feel

[00:41:27] Like

[00:41:28] There

[00:41:28] Was

[00:41:28] Someone

[00:41:28] There

[00:41:29] On

[00:41:29] Their

[00:41:29] Side

[00:41:30] So

[00:41:30] If

[00:41:30] Did

[00:41:30] Get

[00:41:30] Too

[00:41:31] Scary

[00:41:31] You

[00:41:31] Know

[00:41:31] You

[00:41:32] Essentially

[00:41:33] You

[00:41:33] Had

[00:41:33] A

[00:41:33] Guide

[00:41:34] Much

[00:41:35] The

[00:41:35] Same

[00:41:35] As

[00:41:36] Going

[00:41:37] On

[00:41:37] A

[00:41:38] Track

[00:41:39] Through

[00:41:39] Jungle

[00:41:39] Or

[00:41:39] Something

[00:41:39] Like

[00:41:40] You

[00:41:40] Feel

[00:41:40] A

[00:41:40] Little

[00:41:41] Bit

[00:41:41] More

[00:41:41] secure in all of the chaos and danger around you if there's somebody there like sort of um

[00:41:47] supporting you um so yeah it was the museum of the weird and various of the production spaces and the

[00:41:55] sort of technical tricks that we set up for the production spaces um so like like big lighting

[00:42:01] changes and um costume changes and things like that were utilized to tell sort of kid-friendly

[00:42:09] versions um interestingly we we want we obviously had a great model in the original goosebumps books

[00:42:21] for these things but we actually found in the execution that we we needed to be a bit more

[00:42:29] child-friendly than the books were because the books you can you take them to you know a corner

[00:42:36] under your bedsheets you know um the playground and you sit and you read them and it's too much

[00:42:41] you close it and you put it away or you talk to someone or you just like know you're holding it

[00:42:46] in front of you in this sort of made-up world when you're actually in amongst it all and you don't

[00:42:52] know what the rules are and you're playing with the idea of surprise and expectation and anticipation

[00:42:58] uh that could be a lot more uh terrifying for a kid so we had a lot of fun playing with um

[00:43:09] the level of scare and all that sort of thing um and ultimately found that this idea of framing the

[00:43:15] entire thing as a museum that sort of got out of hand a bit like sort of uh what sort of yeah

[00:43:22] museums come alive a little bit like night museum and made that we could showcase all of the amazing

[00:43:27] sets and things that we'd seen but as artifacts um how these stories as stories and then the stories

[00:43:34] themselves would come alive a little bit more and like and take over so yeah that was really that was

[00:43:40] the that was the kids experience and it's really interesting and you're right like we said before

[00:43:46] with the you know like the goosebumps musical even though you know you have that blend of

[00:43:52] horror and humor when it is in front of a kid you know it's not it doesn't seem so make-believe

[00:43:57] anymore uh when you're a kid and you're reading these books like you said you can close the book or

[00:44:03] like just be like oh it's just pretend it's just a book um but unfortunately when it comes to kids

[00:44:08] stuff you do have to be a little more cautious because you don't want to you know scar the kids

[00:44:14] or give them like terrible nightmares or anything or or maybe you do i mean maybe it's your

[00:44:19] depends on your uh depends on your intention and when you've got a batch of kids and you're you're

[00:44:25] playing to lots of different levels of tolerance and so i think it that's the that's the really

[00:44:30] interesting thing is finding the thing where you can be as fun and as i suppose delightful and um

[00:44:37] engaging and uh like drawing in for those kids that want to do that and then as there's the opportunity

[00:44:46] for kids that don't want to sort of step away and feel safe and i think that's what we sort of did

[00:44:51] we were looking at like um scares that were like this is a level c scare and so everyone would be

[00:44:58] scared to level c what we were trying to do is create a story that was involving enough that the

[00:45:05] kids would put their own effort into like enjoying it um but if you weren't sure you could just like

[00:45:12] you know it's still it's still just a story so like just like sitting around a campfire

[00:45:17] telling tales you know they you don't have like huge props and special effects to do those things

[00:45:22] it's up to you how much you sort of like feel uh in the telling of that story and that's that's that's

[00:45:29] the that's the version that we tried to do with the adult one it was different we sort of tried to

[00:45:33] be a bit more like objective like we did things that would affect you in big ways you know so that

[00:45:41] yeah you would actually like scare you know adults but you wouldn't like jump out and be like

[00:45:47] to the kid and because the kid might you know react in a way that you don't intend for um i mean i don't

[00:45:54] know any kids have they don't yeah i mean yeah they either piss themselves they cry or maybe the

[00:46:02] occasional kid would just deck you in the face you don't want any of those things so

[00:46:06] exactly i think most adults would do that last one too so

[00:46:11] yeah actually we did have um we had a few um moments where we had conversations about moderating

[00:46:21] what we were doing because some people got like you know this show whilst it was a theater production

[00:46:29] um and an immersive theater production you know 2016 i suppose theater immersive theater really came

[00:46:36] into its own between around 2013 and 2018 i wish to only five years in which every year new productions

[00:46:45] are being put on and each one has a different set of rules you know sometimes it's basically a party

[00:46:50] where you go in costume and there are actors around entertaining you sometimes it's a free roaming

[00:46:55] experience where there's a narrative but you're free to explore completely on your own terms some

[00:47:01] things are like escape rooms where you have to like interact with everything some things are like you know

[00:47:07] these big um horror jump scare things and the thing is in any one audience of like 100 people

[00:47:16] you could have one person imagining that it's going to be any one of those things and so you could have someone

[00:47:26] who thinks it's going to be like the most horror physical thing possible one person who thinks it's going to be

[00:47:31] like a sit down play so we had to sort of cater to all those environments all those opinions and preconceptions

[00:47:38] and it meant that we did we had you know we had a couple of people get like uh performers get pushed around by

[00:47:47] audience members who got a bit physical with them because of the scares we had audience you know

[00:47:54] the world of immersive theater was constantly learning about how audiences interact when you take away their reality

[00:48:02] um and there's you know lots of mistakes being made all the time but i think that you know more and more

[00:48:09] companies production companies directors are are trying their best to give everyone the safest

[00:48:15] the most engaging possible experience whilst um not uh not compromising on the on the intention of the

[00:48:25] of the piece whether that be like a good scare a good story or like a completely immersive world

[00:48:32] well in a sense too you gotta in a in another sense it's almost like making sure you account for

[00:48:38] those sort of fight or flight sort of people because people will react differently to being frightened

[00:48:43] um i actually equate um something like this to uh the universal studios uh halloween horror night

[00:48:50] scare zones uh or scare mazes or houses um those ones are a lot more linear uh but they're the same thing

[00:48:57] it's more immersive uh you're sort of brought into a different world and there's a lot of jump scares

[00:49:03] a lot of times that like whether you expect it or not somebody is going to pop out and be like and like

[00:49:08] scare you um but you also have to be careful because there's many times and it has happened

[00:49:13] many many times uh where people will you know get scared but they'll react uh and uh you know whether

[00:49:22] that means somebody gets punched somebody gets kicked somebody gets shoved like you got to be

[00:49:26] careful especially when it comes to adults adults are not gonna you know sometimes the adults are not

[00:49:31] gonna mess around when they're scared um so you're gonna you got to be careful um but i mean that's

[00:49:39] all part of the that's all part of the process so i would assume so absolutely another thing that's

[00:49:44] really interesting about this is obviously we talked a lot about the audience but the performers

[00:49:48] are having an experience as well and they need to feel so even though they're the provocateurs they're

[00:49:55] the ones that are like causing the scares doing all these things they also want to feel safe they want

[00:50:00] to feel um like they can perform their best um and um you know that as i say immersive theater and

[00:50:11] the formulas that are being created are constantly changing and learning um one thing that we did

[00:50:18] in goosebumps which we sort of learned from was that we more or less have performers in the same role

[00:50:28] throughout the entirety of the show which meant you could have someone sat in a tent telling a story

[00:50:37] you know 10 15 times in a night and what you know the effect on a you know they're doing these scary

[00:50:46] stories in these environments um they're meeting lots of different people constantly like the

[00:50:52] effects on their sort of like mentality could can be quite um unexpected and so um in other

[00:51:00] productions and towards the end of goosebumps we were doing um uh character swaps either day on day off or

[00:51:10] throughout the night so people would take on different roles throughout the night or different roles

[00:51:15] night on night off um so they themselves had a varied experience whilst giving the best they can

[00:51:21] uh to the audience members um so yeah like being being a performer like stuck on your own

[00:51:28] on a 15 minute cycle in a tent telling the same ghost story to a group of adults can i think be quite

[00:51:36] detrimental to you absolutely i don't really know how it is over there but i mean obviously halloween

[00:51:45] playing a big part here in the states with haunted houses and you have uh you know people who work in

[00:51:51] haunted houses uh scare actors and everything uh do you have that over there was it like kind of like

[00:51:56] a thing where you had to have like basically a casting call for people who have done something like

[00:52:02] that before or were these more like uh people who mostly did like theater and stuff and that's why it

[00:52:07] was changed out so much like that uh it's mostly we everyone that we had involved was a proper actor

[00:52:16] um brilliant actors all of them they worked so hard they had incredible like skill levels incredible

[00:52:23] all like craft um we were doing a theater show and actually um it's hard it was hard to know what

[00:52:34] people expected from goosebumps and what they got was it was really interesting we had like a whole

[00:52:41] variety of reviews like on the whole really really positive but there were a few uh reviews which were

[00:52:48] sort of um polarized where you know i think you could put two together from like relatively well-known

[00:52:55] sources which say oh the stories were like fantastic and engaging and modern and clever but the the space

[00:53:05] was trashy and um like a sort of fun fun house uh and and undermines the integrity of the tales and

[00:53:13] then we had another one which was the tales were you know were when when uninteresting but the world was

[00:53:21] really engaging and rich and you could explore it and all those sorts of things so i think yeah

[00:53:29] it goes to show how you know different expectations can play a part in in in how these things are um

[00:53:38] uh received but um i think we were definitely not trying to do a jump scare halloween thing and we

[00:53:47] we worked with proper um proper actors you know amazing script um really good production designers

[00:53:54] to create it was a show it didn't you know it was it was nothing else we did have one um amazing uh

[00:54:01] little so one of our very physical performers puppeteer come um scarecrow come slappy um was an actor

[00:54:13] an australian actor who we were very very excited to have um his name was hang on one moment

[00:54:25] if it's bjorn i'm gonna laugh so hard what's that i was just saying if it was bjorn i'm gonna laugh so

[00:54:33] hard because he's obviously australian and yeah no we had it we had an amazing performer uh called uh

[00:54:41] matthew waters who is an australian actor um who was famous for playing bronson from round the twist

[00:54:51] do you guys know round the twist so some of your so if people who are into goosebumps and who know

[00:54:58] goosebumps from that uh period of time like round the twist was the australian version it was like

[00:55:05] fun and crazy and so having these two worlds like mushed together with this amazing uh actor in

[00:55:12] between was like absolute was an absolute treat for me round the twist was like goosebumps was maybe

[00:55:18] like a couple of years after um round the twist and so round the twist was like my my goosebumps i

[00:55:27] suppose but i was always really aware of goosebumps the books were very popular when i was younger but

[00:55:31] like the tv show came out just a couple of years after i'd sort of like put some of that stuff down

[00:55:36] around the twist for me and we had we had one of the experts around twist in our production abuse

[00:55:42] which is just brilliant that is really cool that's that's really cool actually i really like that

[00:55:47] uh if you haven't seen round the twist check it out it's just just the best in fact uh who's on the

[00:55:54] same in the same sort of world of all this uh stranger things when they did uh i think it was

[00:56:03] series two of stranger things they released a trailer that they did in the style around the twist which

[00:56:10] you can look up online it was a sort of like special release thing and it was brilliant it really sets

[00:56:15] the tone so there's a yeah out there i didn't know that strange things because they're they again

[00:56:20] they were they were like those showmakers were like real fans around the twist because it does

[00:56:28] that exact thing of like setting up a world where all the rules different or anything can happen and

[00:56:33] it sort of wasn't that it was like an anthology series like goosebumps except it all happened around

[00:56:38] this one family and the people in their lives yeah yeah it's uh it's a show i knew about but i wasn't

[00:56:44] too familiar with it um because i didn't hear much about it but surprisingly ever since we started this

[00:56:50] podcast i started to hear more and more people bringing up so i'm like oh maybe i guess that show

[00:56:54] had a secret fan base i didn't know about yeah it's amazing i guess what most people would say about

[00:57:00] goosebumps too so yeah exactly but um so i'm curious so you know when it comes to all this sort of

[00:57:09] production stuff uh there's a lot of things that can come to the final product uh but is there

[00:57:13] any uh concepts any books that were maybe considered to be adapted uh that didn't make it into the final

[00:57:20] product that's a really good question uh i think there probably were so gabe and tom came to us with

[00:57:31] with a script that was that was pretty fully realized what we did was we worked with each of

[00:57:36] those stories um and as i said in terms of referencing lots of things we we did try and feed in lots of

[00:57:42] references but i'll be completely honest i did lots of good prep for this interview but i didn't

[00:57:48] perhaps was all the stuff we didn't do so i can't i can't pull those i can't pull those out of my head

[00:57:55] at this moment um but yeah there there were lots and you know i think actually that really that really

[00:58:01] um struck me i've seen a couple of the films that have been out recently and it really reminded me of

[00:58:06] like the the depth of the goosebumps universe and all the different opportunities there are for

[00:58:12] different different stories and things like that yeah and we brought up to this point that you know

[00:58:18] some of the stories adapted were like yeah night of the living dummy haunt a mask horror land uh

[00:58:23] say she doesn't die blob that ate everyone stay out of the basement and i believe uh scarecrow walks

[00:58:28] um yeah and the cuckoo clock of doom i actually yeah uh i didn't know about that one until i was

[00:58:36] looking through uh some images and i saw the the clock set and i was like oh that's really cool like

[00:58:42] it's interesting and there are a lot of you know goosebumps stories out there that make for

[00:58:47] really good sort of horror uh you know horror attractions you mean you have a welcome to dead

[00:58:55] house which is essentially like a big haunted house in and of itself um you have like some of the

[00:59:01] stuff like uh phantom of the auditorium which they did a whole musical about um you have attack and the

[00:59:06] mutant which is sort of like a comic book world that you can put yourself into um some of that stuff so

[00:59:12] it's such a lucrative franchise in terms of storytelling so uh

[00:59:20] but so out of the stuff that you actually uh did make though through all that i mean was there one

[00:59:26] that was like a particular favorite of yours that you just had a great time designing

[00:59:30] every space had a different um a different plus to it they were um it was a real playground

[00:59:41] and stuff for me i mean so the haunted master shop was great because you got to build like sort of

[00:59:47] shop front with a sort of like victorian aesthetic we made all these crazy masks for it you sort of

[00:59:54] walked through and then were surrounded in this sort of um we've got like a sort of like spiral walkway

[01:00:01] inside one of these tunnels so that like structurally was really exciting um don't go into the basement

[01:00:06] was really exciting because we did it on two floors and the top the mezzanine is actually a grate

[01:00:13] so what would happen is you'd be doing the story up in the in the kitchen where where the boyfriend

[01:00:19] was sort of replaced by this um uh this um creature but you could see downstairs through the grill we'd

[01:00:29] dim the lights upstairs and downstairs you'd light it and you'd have this sort of multi-layered thing

[01:00:34] and then you'd go down and experience that i mean that's the aesthetic of a scarecrow once at midnight

[01:00:39] was just a complete delight you know creating that amazing um midwestern aesthetic um and working on

[01:00:48] those scarecrows was just like gorgeous you know say cheese and die have the junk shop which like

[01:00:55] i love you know make i worked with punch drunk in richmond on some of their like kids shows where we

[01:01:01] create these amazing junk shops and like i know what opportunity for storytelling there is in those

[01:01:06] places and then i mean uh night of the living dummy was just you know it's just a beautiful great big

[01:01:16] dark tunnel full of smoke using light curtains to sort of blind you so these things could appear

[01:01:22] like out of nowhere and then a giant dummy comes out of a of a of an organ that's like whirring away

[01:01:31] i mean every every part of it was was it was a total to like to create one thing that would have been

[01:01:37] really cool to see um is maybe a room of like pianos with severed hands for like piano lessons can be

[01:01:44] murder almost somewhere to like the tv show where you just walk into that big corridor and there's

[01:01:49] just like the hands just like doom doom like that sort of thing that would have been

[01:01:56] um budget wasn't that high unfortunately yeah unfortunately yeah you're you're bound by budget

[01:02:02] but that's what's so great about goosebumps is there's so many possibilities like it's a grab bag

[01:02:07] of uh possibilities all right so we're going to take a look at some photos and let's start out first

[01:02:13] by taking a look at this particular cover uh or this particular art now you guys may recognize uh the

[01:02:20] artist behind it it's our good friend tim jacobus uh who did this amazing piece of artwork to promote

[01:02:26] the show um what was it like uh getting tim on board to do uh some artwork i mean it was a total

[01:02:34] treat there wasn't there was there's no other way of saying it like so what he's illustrated here is the

[01:02:40] tunnel that was the access point for the vaults it's a very famous tunnel in waterloo that's sprayed

[01:02:46] entirely with graffiti it changes almost daily you know so we provided him with um photos of the

[01:02:54] space and he sort of reinterpreted it as uh as the the goosebumps image you can see there um like that

[01:03:02] sort of sense of site specific uh because obviously we're in london so you know miles away from a lot

[01:03:08] of like the places where the original stories were set so we wanted to sort of transpose

[01:03:14] the sense of where we were and the site specific nature of it with the stories that we were telling

[01:03:19] and so to have him have him reimagine our world a little bit like this was just like an absolute

[01:03:24] delight yeah what what what i want if you want something like that done i mean tim jacobus is your

[01:03:30] guy because i mean even looking at like just photo like from a glance you'll obviously notice the

[01:03:36] you know the man and uh maybe even the alligators in the bright light but you could even look closer at

[01:03:41] this image if you look at the shadow on the wall to the left there you can see there's a hand

[01:03:45] like grabbing at the shadow of the man that's on the wall like that is amazing right there um and

[01:03:53] there's bats and there's a big hole in the roof with like a little bit of like a almost like a

[01:03:59] purplish sunset like yeah the colors are so garish and it's incredible it's it's very on point for tim

[01:04:05] jacobus exactly now going into the first picture we have from scarecrow walks at midnight right here

[01:04:12] and you can see those amazing designs for the scarecrows with the pumpkin heads and the very like

[01:04:18] lanky sort of design it's not human at all how those arms and legs work which is incredible

[01:04:26] yeah so we had different we had different scarecrows that had sort of different functionality

[01:04:31] like um like one had sort of like a like a long broken leg that it's trailing behind one was had

[01:04:37] extra long arms and legs so it was sort of like a spider you know spider scarecrow um one of them

[01:04:46] was sort of really built up and like heavy and one of them was sort of like completely like lanky and

[01:04:53] and floppy so they all had that and they were their movements we had incredible performers as i said

[01:04:58] was one of them but incredible performers who would like using their physicality to like

[01:05:02] really really get into these different scarecrows and you can see the lighting here is super cool

[01:05:09] because the the cornfield has got that very orange like tint to it it's very in line with sort of

[01:05:14] like a fall aesthetic uh but then you have uh from what looks like the barn uh where another scarecrow

[01:05:20] is peeking out from the window there but you have that super blue bright blue light uh so it brings

[01:05:27] your attention to it and it also adds like another aspect of eeriness to the whole scenario and it

[01:05:31] just it's really well done looking i just love how this looks great and then here we have uh the haunted

[01:05:39] mask so we have the design of the mask uh right there and it's very interesting looking i love the uh

[01:05:46] i can't tell uh if those are horns at the top or if that's the actor's uh hands yeah those are those

[01:05:54] horns there are some um if you look at some of the other i sent you some other images as well of the

[01:05:59] the designs and development of those so some it's yes it's not the closest up version of the mask and

[01:06:06] it's not the most just deformed one either we had several different versions of the mask so the more

[01:06:11] the performer wore it the more grotesque it got through and through the scene so i must say i do love

[01:06:17] the look of this house though just like the how very rundown you can see like on the window trim it's

[01:06:23] like very there's a lot of paint chipped off it uh the floor looks very dirty so it gives sort of that

[01:06:29] again that haunted house sort of feel like a rundown space exactly next up we got the designs of some of

[01:06:36] the slappies holy moly look at those faces so once again you know going back to the discussion earlier

[01:06:46] about uh the exaggerated proportions i mean it's very different than the slappy you might be used to

[01:06:53] on the book um but again it adds to that sort of nightmare aesthetic of like where everything is much

[01:06:58] scarier um in your head and sort of adds to that and um i i as you said before

[01:07:06] slappy's design changed even throughout the show um so this is from when uh there would be the

[01:07:14] multiple slappies i would assume that's right exactly so you start with you know the the dummy

[01:07:19] appeared in various iterations around the around the performance and then when you found yourself in

[01:07:23] the in the the big room at the end then then that that slappy would disappear and this one these

[01:07:30] ones would appear and sort of multiply and yeah and then there was a huge one i don't know if you

[01:07:36] could picture that later absolutely here we have um it appears to be uh this one of the stairways i would

[01:07:45] assume is this the stairway uh to stay out of the basement exactly yep leading up to the leading up to

[01:07:52] the kitchen so yeah yep you can see there's like moss uh growing around the the trim at the bottom of the

[01:07:58] stairs there which is really cool looking i love that and the blue light and then here we have a

[01:08:05] picture of the horrorland set so this one definitely looks to be one of the longer uh areas of the maze

[01:08:12] so you have of course um it all looks very run down you have the horrorland like sign letters uh one of

[01:08:20] them is like missing the the wood that goes on top of it so it's very it's exposing all those lights

[01:08:25] and then as you can see back there and we'll get to a picture that has better view the uh the horror

[01:08:31] head that is like the mouth of the stage uh is a really good touch so you can get a better look at

[01:08:42] it you have the big hands yeah so with this what we were trying because this room is so sort of sort

[01:08:47] of um inherent architecture and does the pipes and uh cables and things like that we were trying to lean

[01:08:53] into the uh the sort of aesthetic of the like a structural aesthetic which was like the um like

[01:09:02] bits of a uh fairground ride that things where there'd be pipes and wires and lines things like

[01:09:09] that so all of that blended in pretty nicely now are those hands uh at the sides there are those the

[01:09:16] hands that would belong to slappy uh you spotted it yeah so for for the production photos we used

[01:09:22] to utilize these in this area so as not to give away the slappy uh piece later but each one of those is

[01:09:29] about the size of like two and a half people so you know they'd be operated by like one person like a

[01:09:34] giant great big thing um yeah but we popped them in there because they look good for the production

[01:09:39] places yeah oh it adds to the you know the horror head so it almost looks like they belong to the heart

[01:09:44] oh yeah um and again not to give away that they're actually uh part of slappy so pretty interesting

[01:09:52] all right next up we have another shot from the haunted mask here you have the actor looking into

[01:09:57] the mirror and then it's closer up look at the slappy masks um yeah yeah so these tom's

[01:10:07] promotional photos for his tom house promotional photos for the ministry of masks and they look really

[01:10:14] well done i love the sort of like uh i love like the like the the dimples on the cheeks and uh how

[01:10:23] they're supposed to almost have like a childish aspect to them but you know the facial structure is

[01:10:28] just really really grotesque so it sort of cancels out the the cuteness of it all um and then the the

[01:10:35] hair colors are just awesome i love the purple hair during this time of when i was working on this

[01:10:41] production that was sort of around that time i i've often used like um nursery rhymes and children's

[01:10:49] nursery rhyme illustration books and old toys old puppets have been a big part of my aesthetic so

[01:10:55] getting to play with with these um motifs in in these designs was a lot of fun

[01:11:02] and then we have a shot here at stay out of the basement so we have uh the dad the with the plant

[01:11:10] growing out of his head it's way more exaggerated than it would be in uh many others um but i love

[01:11:17] the design of it and then here we have uh the cuckoo clock of doom you have a boom clock in the middle

[01:11:25] here and uh i love i love this design i love this sort of like the way that the clock is on the ground

[01:11:33] so you're walking on it yeah and then we have a closer look at the mask shop which i love you can

[01:11:42] see uh yeah i love this it's very victorian as you said and i i just i love the way this looks and the

[01:11:49] masks and the windows and then lots of fun so this is downstairs in the basement with all our sort of um

[01:11:59] testicular sacks hanging they do look like that don't they yeah um i love this i love that it's almost

[01:12:08] kind of like it's almost like invasion of the body snatchers down here like mixed goosebumps and i

[01:12:15] love the mixture of purple and green this might be my favorite like lighting effect uh in the show is

[01:12:21] this mixture of purple and green i always consider those to be the colors of goosebumps right there

[01:12:28] um yeah for sure it looks very alien i love that i love the sort of alien aspect to uh adapting the story

[01:12:35] um and again like as i said this this one and the um this one and the the scapego was the number two of

[01:12:43] the larger group performances and in scapego and it's actually comes through more in i think in some of

[01:12:50] the um drawings i sent through to you these were the two where we were really playing with that sort

[01:12:56] of like um contrasting lighting effects you know the like the orange and the blue in in scapego with

[01:13:03] like the shafts of light coming through the wooden slats and this one it was all about the neons and

[01:13:07] the and the the hyper saturated sort of um you know uh yeah yeah you can see from the picture yep

[01:13:17] and then we have an elevator shaft with a monster on the other side

[01:13:23] this looks exactly out of a goosebumps cover right here i just i don't know if it's the way that the

[01:13:28] picture is shot or if this is like legitimate like architecture but this looks exactly like a goosebumps

[01:13:34] cover right here like you could probably put this you could probably take like a template of a goosebumps

[01:13:39] book put it on top of here and i feel like most people would be would think that it was in a real

[01:13:44] book so this was a lost book somehow yeah don't go into the elevator or something like that of course

[01:13:52] it was it was it was a brilliant experience but it was just a wooden box with a sliding door and some

[01:13:57] good speakers but it did really feel like you know with the lighting effect that ran down the

[01:14:02] side of the door you know we had nearly destrip that made it look like you were passing floors that

[01:14:07] sort of thing and then the rumbling noises and it's great really good almost seems like uh the sort of

[01:14:13] effect in disney's haunted mansion when you're in like the uh the room before you go into the ride

[01:14:19] with the stretching walls it's like a sort of like effect but you're really not going anywhere but

[01:14:24] you make it seem like you are uh which is always really cool and here we have a typewriter i'm

[01:14:31] assuming that this plays into effect with um the blob that ate everyone because that's right uh the main

[01:14:38] motif of that book um yeah and then we have this lovely image right here we have a severed head

[01:14:46] uh i think this was this was definitely a from seinfeld yeah this was definitely um like very

[01:14:53] deliberately a prop like object this was in the say cheese and die junk shop so it was it was um

[01:15:01] yeah deliberate attempt to have something very schlocky in there i love it it's awesome

[01:15:08] yeah so here we have uh it looks like this is the kitchen set for yeah this is the basement yeah

[01:15:15] so we did one end of the room was like the whole the whole thing was that it was a couple who were

[01:15:20] moving into their new ideal home like a young couple you know in their 20s getting their first

[01:15:27] place and so one end of the room we'd like filled with boxes to make it look like they were unpacking

[01:15:31] and then you know obviously that the home street home for all was undermined by this sort of like eerie

[01:15:38] basement happenings below mm-hmm i love that the boxes make like a in uh like a pathway yeah exactly

[01:15:49] all right here this is at the the beginning of the uh attraction but this this graffiti it says

[01:15:55] adventurer beware uh where did you find all these photos yep did a lot of digging

[01:16:04] and here we have uh slappy i believe yes yeah so again going for that sort of uh i really like the

[01:16:12] aesthetic of slappy being sort of like a a very i would say between victorian and like you know even

[01:16:19] like a 40s 30s dummy this was also done in the 2023 series which i was really all for i love that sort of

[01:16:26] uh trace back to vaudeville uh sort of ventral aquism here we have a picture of some of the

[01:16:33] stocks over in the scarecrow uh scene uh with a little more bluer uh lighting on them which looks

[01:16:40] amazing it's a little more nighttime looking uh in this vibe all right so here we have uh i'm assuming

[01:16:48] from sort of like a like a carnival show this was from the kids production so this was one of the

[01:16:58] the pieces from the kids production so we have welcome the brave and uh what is this supposed to

[01:17:06] be exactly looks like a blue monkey i think it was a blue monkey yeah yeah i remember to be honest

[01:17:14] maybe it was the beast from beast from the east yeah i choose to believe that

[01:17:24] all right here we have uh another picture from stay out of the basement we have uh the plant clone

[01:17:31] right here with some more of those amazing pods in the background here and again the blues or the the

[01:17:37] greens and purples just man they look so good i cannot stress enough how much i love this lighting

[01:17:43] here right first day out of the basement now this looks like it's from say cheese and die um yeah

[01:17:50] no you know you got the the big pictures in the back and of course you have the camera um now this

[01:17:56] was again this is from the kids production of say cheese and die yep so you got it getting hit in the

[01:18:02] mouth with a with a soccer ball yeah it's really cool i love that you can definitely tell like uh

[01:18:11] you know what is uh what's a little more kid friendly and what's a little more horror yeah like

[01:18:17] something like this is definitely like probably going to scare the hell out of a kid but something

[01:18:20] like this is a little more goofy and silly um still playing through the goosebumps thing

[01:18:25] and here we got actually anybody's kid in production who they used for that picture or was that just

[01:18:30] it probably was yeah i think it probably was i can't remember yeah now here we have uh i would assume

[01:18:37] is the big finale of slappy uh this monstrous looking puppet so this is actually the medium slappy oh really

[01:18:46] so this isn't even the large one this is the large one it is really grotesque looking i this almost looks

[01:18:55] like something out of like return to oz i would say um sort of that design i love it

[01:19:02] so here we have uh it was like another shot from the kids section but we have the dummy version of

[01:19:08] slappy right here yeah and then here's a better look at the haunted mask so yeah you can see that there are

[01:19:16] horns on the mask um and the eyes are like very very yellow almost looks like a a really grotesque

[01:19:24] looking frog i would say in a sense all right i had to bring attention to this little number right

[01:19:32] here it's a goblin i was literally thinking it kind of looks more like a goblin and then here we are

[01:19:36] with the goblin menu i wouldn't menu so this is uh some uh food and uh that was offered at the event

[01:19:43] so take a look at these names uh how do you take your burger sir uh you have red meat uh clucking

[01:19:51] from the deep blue straight from the basement and or would you rather to say cheese and die with a toasty

[01:20:01] so it looks like these are all like uh sandwiches burgers and whatnot yeah yeah these look pretty

[01:20:07] good no they were delicious yeah definitely we have there's a great catering team with the vals

[01:20:14] got uh from the big blue right here is a teriyaki tuna steak uh kami seaweed salad wasabi mayo crispy

[01:20:21] shallots for nine bucks wow that's actually not that bad it was 2016 yeah

[01:20:28] yeah that's true that was before everything got bad for you covered um all right so now we're moving

[01:20:37] on to some of the concept art uh courtesy of sam um so here we have concept art of the horrorland set

[01:20:44] that's right yeah um i love the colors on this it looks almost like clown ish almost like circusy

[01:20:52] yeah it looks really nice i love it thank you all right so here we have uh some art from say cheese

[01:21:00] and die this was to sort of uh show you i guess the sort of thought process how we go in to start

[01:21:06] designing so i'd like got some of the vote got the layout of the room and then some of the references of

[01:21:11] what it is we're trying to achieve so the way we did it in the adult show was actually these um

[01:21:15] the entire place was done one of the scenes was done like a modern bar and then um you know there

[01:21:23] were these kind of great big screens that seemed to crack and break in allusion to sort of like like

[01:21:29] more modern types of like photo sharing on phones and that sort of thing and we had a big big jump

[01:21:36] scare where the glass ceiling at one stage was just completely covered in dead birds that dropped out

[01:21:42] the sky that was one of the big jump scares that is awesome i love that i love this uh picture right

[01:21:47] here uh it almost looks like just the wall is just covered with photographs and they're being so

[01:21:54] ledded by a bright light like i love that idea of uh being in a giant room where you're just surrounded

[01:22:00] by photographs in a very eerie sense that's similar to the book i really like that nickelback does too

[01:22:09] and then we have the haunted mask here so i love this drawing right here of the the novelty shop

[01:22:16] and the haunted mask right here in the middle too fun yeah yeah the execution of that to bring it to

[01:22:25] life was really cool i really loved the whole aesthetic of this it was thank you yeah i just love it

[01:22:34] all right here we have some designs of the scarecrows and wow these are amazing these heads

[01:22:44] thank you yeah i really enjoyed something like uh scary stories vibes off the art yeah it's like

[01:22:51] it's like tim burton or like something you'd see out of scary stories to tell in the dark like

[01:22:55] you could probably see this right next to like uh like the jangly man or something like that

[01:23:04] now this one right here in the bottom here looks a little more similar to uh something that you would

[01:23:10] see in the book uh with the hat and the clothes but this one just looks like otherworldly it almost

[01:23:17] it doesn't even look like it's anything in this world um in a sense so really dig that

[01:23:24] here we got a few more designs a little more colors these pumpkin designs are amazing you have

[01:23:30] like this one that's a little more toothy um you have this one that looks almost like rotting which

[01:23:35] i yeah that was a really fun one to make actually sort of collapse pumpkin face all right here we got

[01:23:43] uh stay out of the basement um this one right here i really love the the green coming out of the uh

[01:23:50] the checkerboard floor um yeah yeah yeah is that supposed to be like a a see-through thing or is

[01:23:56] that supposed to almost be like a slime pool in the in the floor it's a it's a great so it's light

[01:24:03] coming up from beneath you can sort of see it in that amazing la chappelle reference on the

[01:24:08] bottom left you know and then in the two states so like in the state you'd see it in lit up in normally

[01:24:14] and then the state you'd see it lit up from beneath um so you really got the green so in the purple

[01:24:20] kitchen upstairs you then got the green light like creeping through and um yeah i love the aesthetic

[01:24:26] of this uh particular one because the uh because again you have the the upstairs and the downstairs

[01:24:33] and the upstairs supposed to be like a little more cheery it almost looks like it was going for

[01:24:36] like a 1950s like sitcom-esque look to it which contrasts with you know the the horror underneath

[01:24:45] which i like um so here we have some concept art behind scarecrow walks in midnight now look at this

[01:24:53] like i can't tell which one i like more to be honest

[01:24:58] oh looks so good yeah that's fun i really enjoyed making that one

[01:25:02] um so we can see right here on the bottom there's a model of how the maze would look so you have sort

[01:25:07] of a curvature going here until it leads until uh the very wide open area on the other side

[01:25:17] yeah i like that middle one just the whole moon scene lining up the cornfield and the scarecrows it's

[01:25:26] this is awesome i love that all right here we got some design concepts for slappy uh going from you

[01:25:36] know creepy to holy moly that's like courage the cowardly dog straight out of your nightmares

[01:25:44] that is like something you'd see out of like a really messed up episode of courage

[01:25:51] yeah kind of i can see that yeah it's again going for that very sort of clown-ish sort of design that

[01:25:58] you would see in a lot of old children's toys and then just deteriorating into something that is just

[01:26:04] utterly horrifying all right so i'm assuming this is from the finale with the giant slappy exactly so

[01:26:14] we had this sort of large structure with this sort of organ pipe and various things that played this

[01:26:19] amazing finale music by the tiger lilies and a great big walkway so some of it was like performed there

[01:26:26] in front of you uh it was also the place that the big slappy came from and then it was the place that

[01:26:31] the really big slappy came from that sort of burst through um a painting at the top where that golden

[01:26:39] that golden face you can see the top was sort of um it was actually just a very simple painting there

[01:26:45] and then that burst opening a great big head sort of about six foot wide six foot tall burst through

[01:26:53] with a great big opening mouth on a on a line that we had running down the center of the center of the room

[01:26:58] that is so cool i love that it's like the perfect way to cap it off like just something like that all

[01:27:06] right so here we got some design concepts on the haunted mask um here it looks very uh well a lot

[01:27:13] more uh feminine in a sense with the the sort of the lips and uh the color around the eyes um but i love

[01:27:22] this i love this design it looks very like elongated in a sense we got more uh slappy designs right here

[01:27:33] slappy masks and then some of the scarecrows so like i said you got the the more collapsing one which

[01:27:42] i'm just absolutely a fan of and this one that has a a lot more toothy sort of grin and sort of like

[01:27:51] you know one eyebrow up that sort of thing doing like the dreamworks face i call it

[01:28:01] all right here we got some those the two sort of versions of the of the haunted basket so that was

[01:28:07] the the one on the left is the sort of early version where she puts it on and sort of and then the one

[01:28:11] on the right is where she's like where it's sort of take completely taking control of her and and it

[01:28:17] was sort of painted up in the style that you saw before but yeah all right and then this final photo is

[01:28:24] uh email uh that uh you sent to me because it was funny and it is funny just out of context can slime

[01:28:31] rob do under things or is he too slimy so uh if you don't mind me asking uh who's slime rob so uh rob was

[01:28:44] the uh character in in uh the blob and this is just a really this is just a really good example of

[01:28:56] uh when you're putting on a production and you're sort of like working out like who's available when

[01:29:01] to do what and where like there's little and everyone's working under pressure and um there

[01:29:06] were these very complex systems where like one person's in one room doing one thing one person's

[01:29:10] another one doing nothing when they swap you know sometimes you get these little short hands that pop

[01:29:15] up to show you how like the show making process happens and this is just one example of that

[01:29:21] i just love that is like is he too slimy to do other things

[01:29:26] it's great i love it now uh there is one more thing uh that we're going to do we're actually going

[01:29:32] to take a look at uh the google maps walkthrough of goosebumps alive that is still up i was able

[01:29:40] to find it and we're going to take a look at it so going over here so we start right here which brings

[01:29:46] the question so real quick like what do you guys uh did anybody ever film a walkthrough through there or

[01:29:54] was it more uh i think i think there may have been some aspects of it were filmed yeah

[01:30:01] so we start here right at the beginning so you have i believe uh it was said that banksy founded this

[01:30:08] tunnel right here where the entrance is uh which is pretty interesting i think i think um

[01:30:15] i think the the street art subculture founded that tunnel i think everyone everyone as you can see

[01:30:22] has had it has had something to do with it not only its inception but it's also it's continued life

[01:30:28] this one right up here is really speaking to me

[01:30:33] so turn it over here go right in there's the the goblin menu you can see right there so walking inside

[01:30:40] you have this uh this awesome sign right here goosebumps alive and then you have uh the sign that says

[01:30:48] adventure beware right here so going in we got this big creepy hand and then we walk inside

[01:30:58] so i would say as well that um the uh from my memory this walkthrough is sort of done in what we call

[01:31:05] house lights where there's sort of um uh the the sort of some of the atmospheric lights are on but mostly

[01:31:13] it's uh it's sort of over lit so it can be filmed so the actual thing was sort of much more atmospheric

[01:31:21] here we got a sign that has all the social media on there and then some stairs up here more seating

[01:31:31] all right so we walk through over here uh oh yeah one thing i forgot to mention is that uh

[01:31:37] lots of alcohol at this event

[01:31:40] uh that was just for the kids show yeah that was just for the kiddies the adults didn't get to touch any of it

[01:31:47] uh looks like we got a little shop here some art i can see there there's some uh artwork of the tim

[01:31:53] jacobus there's some cds for uh the tiger lilies if you look really close right there that's really

[01:32:01] awesome gallery merchandise we got some masks on the wall from ministry of masks yeah that's what i'm seeing

[01:32:08] um look at some of these so yeah fantastic you can see some of these are uh from alice uh and there's

[01:32:17] the mickey mouse right there

[01:32:23] clowns yeah that's really cool i love those masks

[01:32:27] there's some more over here actually that's some more whoa look at all those like doctors

[01:32:35] yeah that almost looks like uh that one dude from the joker one those are all they are all batman masks

[01:32:42] they're all dark night yeah that's dark night rises bane that's the one the joker wears right there

[01:32:47] on the bottom yeah they're all from the dark knight trilogy oh very cool where did i just go

[01:32:53] i got transported well i guess while we're here uh here's horrorland

[01:33:01] uh here's horrorland so you get a better look at uh some of the stuff you had here

[01:33:06] so here you can see some of the the tunnels we were talking about what's this over here

[01:33:13] i guess the elevator oh yeah look there's the lift oh look at that that's so crazy it it looks like a

[01:33:26] painting like that's the crazy part like even the photo we saw like we said that was looks like a

[01:33:31] goosebumps cover it really did it really doesn't even look like it's in reality the way it's lit

[01:33:36] and everything it was crazy hey how'd you get back here you're not supposed to be back here oh yeah

[01:33:42] so this is this is the this is the blob so what happened was uh as he was writing more and more

[01:33:52] things into reality basically we started with these curtains closed and then there was a great big blackout

[01:33:57] scene and then we basically filled all of the the edges of the space with with expandable foam uh

[01:34:07] space filler and um and loads of tvs objects hubcaps like all of the things that are sort of like

[01:34:15] expressive of like excessive wealth and um pictures and and lace them all through with like gold glowing

[01:34:23] lights so suddenly all of the all of the screens went back and you were completely surrounded by

[01:34:29] this kind of like um grotesque golden blob of like consumerism there's lots of fun i love that i love

[01:34:38] uh yeah just this giant heap of stuff and yeah it is sort of blob-ish in its design and uh the glowing

[01:34:48] nature of it all it really is good looking sort of all the stuff if you were 21 and suddenly had a

[01:34:52] shitload of money it's all this sort of nonsense you'd buy yeah some of those give me like beetlejuice

[01:34:59] vibes it does doesn't it like some of them like those corridors of kind of beetlejuices

[01:35:05] um so this was the show start where everyone gathered before beginnings it's just sort of

[01:35:10] foyer area of like the bar i'm coming out from everywhere exactly so we can see uh some of the symbols

[01:35:20] uh around here so we got like a rat uh we got a little flower starfish looks like uh there's a crow

[01:35:30] snake so did you ever get rl stein to come visit this and and do it or uh i don't think so

[01:35:41] um no i think that's not that i remember to get to some of the other places oh you even got a hand

[01:35:47] ah here we go so here we're in a little more of the scarecrow so if you see there's really cool

[01:36:00] it's back there surrounded by all the oh look even going right here

[01:36:10] it's really cool looking and then one on uh stilts came around yeah yeah this is what we saw

[01:36:17] where the the one was up here and then yeah the guy with the the one with the stilts was walking

[01:36:23] around you can get a closer look at the house right here so you can see it is very typical of like a

[01:36:31] you know an old school farmhouse you got the kitchen table and the silverware yeah custom made wallpaper

[01:36:40] by harriet yeah moving back over here make the corn stalks out of they were just uh brown paper and bamboo canes

[01:36:53] be in the box okay all right it makes for a good effect or reasonable recyclable yeah all right so

[01:37:01] here looks like this is the curial shop from seaches and die yeah you can definitely see this is like a

[01:37:09] grab bag of easter eggs around here we got a dummy up there

[01:37:23] Like that. TVs.

[01:37:26] It's like Dennis.

[01:37:29] I mean, it does kind of look like Dennis, doesn't it? All right.

[01:37:36] We go over here. Oh, there's our friend, the severed head. All right. So, whoa,

[01:37:45] we got lots of chairs upside down. So here.

[01:37:51] This is the site.

[01:37:52] She's done. Yep.

[01:37:57] And you can see on the wall and there's a bunch of photographs.

[01:38:00] You look up your head.

[01:38:03] You can see that the ceiling was designed like a sort of broken mirror.

[01:38:08] And then if you look at it,

[01:38:10] you can see the birds that have fallen on the roof.

[01:38:17] They were very made of very loud noise, but they smashed into the glass.

[01:38:22] That is a really good effect. I love that.

[01:38:25] It's almost like the fact that everything looks like broken,

[01:38:28] it almost looks like it's giving the effect that it's going to break at any second.

[01:38:33] Actually.

[01:38:34] I had to feel like reality.

[01:38:37] Yeah. Break reality. Exactly.

[01:38:39] Is this what I think it is?

[01:38:41] Yeah. So that's the, that's the great big organ at the end.

[01:38:45] Ah, yeah. You can see one of the,

[01:38:47] you can see both the hands right here and then there's a silhouette of slappy back there.

[01:38:52] You can see as really cool. I love this design here. Just this big empty corridor that leads you down.

[01:39:01] Yeah. And then above you, all we've got is the light curtain. So that was a really,

[01:39:05] really good simple design that created like a, almost a physical,

[01:39:08] it was like a physical wall that could just appear and disappear basically. Made out of smoke and light.

[01:39:13] It's really nice.

[01:39:14] That is incredible. I love that.

[01:39:16] So it's pretty interesting to see all that, uh, how everything was structured and all that.

[01:39:21] It's again, it's, it's just amazing how everything looked. Um, I do have one more question

[01:39:26] before we end things off for today. Um, so the show wasn't very, uh, long lived. It did, uh,

[01:39:33] only last, I believe about a month. Uh, has there ever been any talks about bringing it to another

[01:39:38] location or was it just kind of a one and done? I think it was, um, sorry. Oh, that's why.

[01:39:47] Um, I think it was, uh, always open to like going on, um, where the bands are taking like this,

[01:39:59] the venues are often very specific and finding a place is unique and as brilliant for those

[01:40:04] opportunities as the vaults is quite rare. Um, I've had other shows, uh, try and transfer from there.

[01:40:11] And it's not always straightforward, but we did, for instance, transfer Alice's Adventures Underground,

[01:40:17] to Shanghai and China. Um, but in order to find anywhere similar, we actually had to, uh, uh, rent a

[01:40:26] completely dilapidated mall and repurpose the entirety of the inside in it with concrete and

[01:40:32] everything like that. So, you know, when you create a space, when you create a show of a space that's so

[01:40:37] specific, you know, you know, you really have to work hard to transfer it. And it's, you know,

[01:40:43] I think all of us went on to do really exciting things after doing the show.

[01:40:48] So, um, I think it just exists in that little moment of time.

[01:40:52] Yeah. Well, and we appreciate that you guys got to get together at one point and create this

[01:40:58] incredible experience and hopefully it's, uh, not the last of its kind. So hopefully we can see more

[01:41:03] like stuff like it in the future. Well, that's going to do it, uh, for today's episode of the

[01:41:08] Goosebumps Crew Podcast. Uh, Sam, thank you so much for joining us here today and talking

[01:41:12] Goosebumps with us. It's been an absolute pleasure.

[01:41:15] Thank you so much for having me. It's been absolutely great. It's been really nice to

[01:41:19] walk through some of that, but you know, old drawings and work, things like that reminds me

[01:41:25] like, you know, whatever, what a fantastic experience it was. It's great to have everyone's so

[01:41:30] interested in it. Um, I've got some that and some other bits and pieces on my, on my Instagram.

[01:41:36] So if you want to follow me, you can do that on at down to the wire and wire is spelt w y e r

[01:41:43] same as my surname down to the wire. Um, and yeah, there are lots of other like little bits and pieces

[01:41:50] like that on there. Absolutely. And I'll make sure to, uh, link to that in the description below.

[01:41:55] Go check it out. Support Sam. If you can, he's awesome. Uh, and he's doing a lot more productions

[01:42:00] in the future. So support them, please, please, please on behalf of us, thank you again so much

[01:42:05] for joining us. And as always, uh, make sure you follow the Goosebumps Crew by, uh, if you like

[01:42:10] today's episode to leave a like and comment, make sure you subscribe to the Goosebumps Crew Podcast

[01:42:14] on YouTube, follow us on our audio platforms, Spotify, Apple Podcasts, Amazon Music, and iHeartRadio,

[01:42:19] and follow the Goosebumps Crew on social media at Instagram, Twitter, TikTok, and Facebook.

[01:42:24] Also make sure you check out Nick and Bjorn at GoosebumpsAussieFan and Sean Wynn on Instagram,

[01:42:29] and their YouTubes. They really do deserve it. All of those links are in the description below.

[01:42:33] We'll have a new episode for you next week, but until then, this has been the Goosebumps Crew

[01:42:36] Podcast from all of us here. We want to wish you all to take care, stay safe, and have a very scary day.

[01:42:41] We'll see you next week.

[01:42:42] Bye.