YouSaid · the spoken record

Adam Savage

lines on the record: 87
first: 2019-04-30
most recent: 2019-04-30
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“Think you're going to end up. And while some people may think that that's a failure, a true creator knows that you follow the thing to where it's going, not to where you think it ought to go. So, you know, I have a couple of jobs I did where I took them on without the correct amount of experience or foresight and I screwed them up. I've done jobs so poorly I lost friends. I've done jobs so badly I didn't sleep for 60 hours and delivered something that was way not what the client wanted and I still feel shame and sadness over those moments But the fact that I got through those and the fact that I was able to see past them and learn from them I remember at one point the one that the job that I did that I lost a friend on when she told me you couldn't have done anything more to make it clear that I”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“That's not necessarily a failure in the traditional sense. And I think the distinction is important because we talk a lot, I'm sure. I know that in the lingua franca of self-improvement and making your output as impactful as you can. We talk a lot about helping kids to fail, helping them learn to fail in Silicon Valley, build fast and break things. But we don't mean failure. We actually are lying. It's a great word. It catches your attention, which is important, but it's not what we really mean. And I'd like to point out that real failure is getting drunk and missing your kids' birthday party. That's failing at what you should be doing. What we really mean when we say failure is we mean iteration. We mean the creative process is messy and it's iterative and you have to chase up a lot of wrong branches in order to get to the right one. And you're never going to end up where you.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“Balls to do that upstate. And again, it brought the audience closer to her to do that and I logged that and I'm sure that I was thinking of that at that moment. I was like, I'm going to do what I saw that I thought was courageous. I'm going to do that.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“Well, so, in fact, I had forgotten until you reminded me just now that at that EG talk, I stopped and restarted. And that is a huge example. That was the first time I'd ever done something like that on stage. And I realized now that it was inspired by a singer who I loved named Jane Sibury. And Jane Sibury famously did a beautiful duet with Katie Lang called Calling All Angels that was part of the Until the End of the World soundtrack way back when. And she's an incredible singer. She's written many of my favorite songs. And back in the 90s, I used to see her perform whenever she came through San Francisco. And I saw her with a jazz ensemble at one point. And she started a song. And ten bars in was like, stop, everyone stop. We didn't get that one right. Let's go back to the top. And I thought, what glorious.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“And, you know, in film, we have the mad scientist go, damn it, my experiment was a failure. And a scientist doesn't say that. A scientist said, I screwed up my methodology. I don't have enough results. Or, wow, the outcome was totally not what I expected. And to be honest, that's usually why the fictional villain is upset, because the results are the opposite of what they wanted. But a real scientist who comes up with the results that are the opposite of what they thought is the most thrilled human being you've ever met. They are ecstatic that their expectations and their biases have been turned on their heads. And they have now this brand new, much wider understanding of what's going on. And that might be called failure by a neophyte who doesn't understand the scientific method, but to a scientist, that's opening up the whole world.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“To me, the worst possible thing you could say is sort of like a stress reliever just to imagine in my head. I don't then say it, but sometimes when I find a joke where you say the opposite of what you should say, it pleases me and failure is always an option, was that's a wrong thing to say in that moment. And they cut it into show and it became a kind of a catchphrase. And then I realized once people started saying it back to me that there's a deep scientific truth about it. The idea of success or failure to a certain extent is anathema to scientific exploration. And when I say scientific explanation, the qualifier, it's exploration of any kind. And when you want to explore anything in a rigorous way, you're doing it using the scientific method just by default. You're comparing your results to previous things. You're building a future experiments based on the things you've learned in the past.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“So that grew out of a joke on set. It was the first season of Myth Busters. We were, I think we were trying to make biscuit dough explode inside a hot car. And this was the first season. We had no infrastructure. We didn't know what we were doing. Jamie and I were still brand new to building scientific methods and thinking through worst case scenarios. It didn't occur to us that even with 10 space heaters, it would be really hard to get the temperature inside a car above 100 degrees. And it took hours and hours and hours and we're sitting there and it is so boring. And we're also realizing that like are we getting enough on camera? And I turned to the camera and I just said, remember kids, failure is always an option because I was thinking my sense of humor runs, what is the opposite of the right thing to say?”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“Watch her I love the exercise. I love the exercise of interacting with the crowd. I love the laughs that come where you don't expect. I love, well, I particularly love the gasp. When you can create a piece where the audience goes, I've only done it a few times. As David Mammoth points out, you can easily blackmail an audience into a standing ovation. It is impossible to blackmail them into a gasp. And thus, gas, as far as I'm concerned, the highest possible achievement you can attain on stage.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“And then on stage, it came to me as if a fresh thing. But a funny thing happened on the TED stage when I was doing the talk about cosplay, which was about a minute in, I thought to myself, fuck, I'm ahead of myself. I'm thinking a little too far ahead. And consequently, I'm not taking the spaces with the words and the concepts in this moment because I'm running the forward track a little too farther forward. And then I thought you're always this far ahead in the first minute. Relax. It'll be fine.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“All this is by way of saying I give talks in many different ways. When I talk every year at the San Mateo Maker Fair and when I do that talk, I do very little rehearsal for it. I want it to feel and be raw and off the cuff because I feel that I owe that to my fellow makers. I want them to see that it is not all polish and perfection. And I want to be a little vulnerable with them. But when I spoke at Ted in Vancouver four years ago, I rehearsed that talk so many times I forgot it.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“And I want the recording to be good. So screw it. No, I'm not going to get in trouble for asking to start again. And in fact, I may even bring the crowd more with me. This is a net plus And that comes from the more you do public speaking, the more you encounter the fact that each audience has a kind of a character to it. And some are difficult, some are easy. Some of the difficult ones can be your best audiences when you find that rhythm. And the EG audience, like the TED audience, is a heady and intense crowd of people to perform for. I mean, years later, I did about four years ago, I did a juggling talk for the EG and Michael Hawley, who runs it, neglected to tell me that all of the flying Karamadzov brothers would be in the audience when I was doing my juggling. And I got heckled by the Karlamantsov brothers.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“I gave this. I say a cachet or a cache of Dodobones was found. And that naturally happened the first time I was rehearsing the talk. And then I thought, I'm building that in because I think I can make it sound honest and true. I think I can act that moment. And so this was the first time I had taken a talk and turned it into a bit of theater. And so when I was up there and I was rolling through the slides, because if you remember, the first one was taking a bunch of shots of Google Earth and zooming in on the island of Mauritius off the east coast of Madagascar. And that rhythm between the words and the imagery, it was music. And I could tell in that first pass that I was out of step. And I was trying little things to get back in step and they weren't working. And I thought, you know what? I'm in my head. I'm doing this for two audiences. I'm doing this for the audience here, but I know they're recording this.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“Of them and among them, and it was one of those electric nights where everything fired on all cylinders. And I thought, I've got a really extra special talk here. I can't wait to give it again. And that's when that was the second year I had been to EG, I think. Maybe even the third year. At any rate, in going to EG and having workshop this talk, I decided that I wanted to rehearse it really, really precisely. Part of that meant that I wanted to tell the story with a lot of imagery. I wanted it to feel cacophonous because that's the way my obsessions feel in my brain. I wanted to talk to feel kind of like a river moving past you. So I think I have something like 120 slides in 13 minutes. And the rhythm is really important. I think in the very beginning of that talk,”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“And Kevin said that was a lovely talk. And I was like, thank you, Kevin. And he said, I think you should workshop that. And I said, I have no idea what that means. And he said I think you should continue to give that talk and keep refining it because I think there's a really great talk inside of it. And about a month later, my wife and my kids and I were in Nashville Airport waiting to change planes and we ran into this other nuclear family. John Ennis and Arlene Clott and their kids. And Arlene and Beth Lissick run porchlight as they have for the past 20 years in San Francisco. And we started conversing. And we've since become friends. We've been friends forever now. But she said, I'm about to do this porchlate on obsession. Are you interested in giving a talk? And I was like, fascinatingly, I have a talk that I'm working on about obsession. So I went to Cafe Denord and I gave a version of the Maltese Falcon talk at the old cafe denord where the audience is sitting all at your knees and your right in front.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“That's a great question because there's many, many layers to this. First of all, that talk started its life as a 10-minute throwaway talk I did at IDO at one of their evenings they called quickies. They parade a bunch of people and each one does a quick rapid fire talk and I thought, oh, let me talk something about something that's weird and personal. I'll talk about how much time I spent on the Maltese falcon. And I came off, I was followed by the world yo-yo champion who just blew the whole house away. It was a lovely, fun evening. And coming off the stage, I ran into Kevin Kelly, who said, that's a really good talk. Kevin Kelly, the founder of Wired, cool tools. Kevin is one of the forest gumps of the internet along with Stuart Brand of others.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“I get totally get, and I don't begrudge that he must have had a very real and a reasonable reason. I grew up on his stand-up comedy and I wanted to hear it again.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“One thing about the audiobook that I was sad about because I read it and then on a big road trip I read it out loud to my wife. She read it out loud to me. And then we got the audiobook and we listened to Steve Martin read it. And the only problem I had with the audiobook was that Steve Martin didn't fully commit to his recapitulation of his own comedy bits.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“And it's so true because that early acting training I had made me way more fearless about being in front of people and being myself and being out there than I would have otherwise been. And I think, you know, like you were saying about Warren Buffett in public speaking, that ability to perform is the A, it's part, it's one of the biggest A's in STEAM. If you want someone to understand your scientific proof, you have to explain it and explaining it is an art form. It is the art of getting your argument across. And nobody can do that in a vacuum. And so one of the things I thought was most amazing when Mythbusters showed up is I was like, oh, look at that. The performers sat dormant for 15 years. And while the maker was ascendant, and then all of a sudden this opportunity showed up and the performer and the maker get to meet on the same plane.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“And it was where when I was working in theater and I saw something I didn't know about, I can go, hey, what about that? And someone would make the opportunity for me. Oh, I'll show you how I do that. So for me, as soon as I got into film, it doubled my income because unfortunately the pay in theater is still really crappy. So I didn't look back from film. But the experiences that I had in theater, of the camaraderie, of the learning everything that I could get my hands on, and of that low threshold entry really have informed most of the rest of what I've done. But all that being said, there's a quote in Steve Martin's book, Born Standing Up when someone says to him, you will eventually use everything you've ever learned.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“It's a necessary family ethos because my family, because the men in my family contend to be very full of shit, myself included. So watching the watcher and watching out for that drinking your own Kool-Aid is definitely an ethos. I was raised with. You're right. Theater is a force multiplier for its camaraderie, its low threshold to entry. In fact, I think theater as an art has the lowest threshold to entry because if there is an apocalypse and there are 14 people left in San Francisco and they find each other and make a campfire, theater is the first art form that they will explore together. They will start telling stories and then they will start performing those stories because we as humans, we need narratives to help us make sense of the world. So I love theater. I have an abiding passion for it.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, I mean, there's a family story in my family that in the mid 60s, my dad partnered up with a producer in New York, and they formed a consortium. And my dad's partner would be the business side, and my dad would be the creative side. And at the time, his partner had more experience in the advertising industry. And he said, we're going to make a big splash about forming this consortium. We're going to put ads out. We're going to get articles in millimeter and all these other trade magazines. And I got to tell you, if you start to believe in your own bullshit, I'm going to cut you loose. So there was always a family ethos about not believing your own bullshit.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“And I resolved at that moment I get this. I get that this work for commerce is satisfying the emotional and aesthetic need I have to explore this type of problem solving I was exploring in my art and now I can point all of that towards this career And I am steadfastly never going to say I used to be an artist because it is the same mechanism. I recognized it and I still do stuff for myself that's weird and sculptural and different. I still apply that aesthetic and I didn't think I think most importantly I didn't consider it a loss of a purity to take that energy Screw it, let's totally go towards this and see where it leads.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“That I was no longer staying up all night building stuff. And I thought, huh? And then I thought, I think this is specifically because this work is satisfying all of that creative problem solving that I get in my studio. And then I went further and thought, oh, this is why so many people in film and special effects say things like, I used to be an artist.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“No, so it happened like this. So I was working in theater for several years. Eureka Theater, Berkeley Rev, Beach Blanket Babylon. And I started getting reputation for solving weird problems. And that got the attention of Jamie Heinemann, who was running a shop at Colossal Pictures. And he brought me in. We had a great interview and I ended up working for Jamie on and off full time for about four or five years. Just before I was working for Jamie, I was working at Berkeley Repertory Theater and I was working at Beach Blanket Babylon. And so I was basically putting in an eight-hour day during the day. I was then doing three hours of a show every night and I was still staying all night long making sculpture in my studio in Hunter's Point. So I was like never sleeping. I was just a one-man building machine. And when I started working for Jamie full-time, I noticed after about a year.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“Because I was able to call myself a sculptor and have my work in like 40 group shows in the first two years I was in San Francisco. I got huge amounts of feedback from people about what that work meant to them and it gave me perspective and what it meant to me. And it slowly allowed me to sort of build an ethos of what I wanted to do with my hands and my life. And when I ended up stumbling from the theater industry into the film industry, film and commercial television special effects was where I all of a sudden saw that everything I'd been doing was leading towards this. Like this was an industry in which all of my excitement and creativity and passion and drive could be pointed in a singular direction. And so I was like, oh, I'm going to give everything over to this.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“Place. It's not going to open its doors to you, and you're not going to be able to stumble into your ambition. And so after five years there of kind of trying several different careers and several different job paths and still like not having a singular focus, I moved to San Francisco, which is, I think, one of the great cities in the world for finding your ambition. It means that some of the culture here is not as good. It means that everyone, you know, if you want to have your artwork in a gallery, San Francisco, you could do it within a few months. It's not as hard to do it here as it is in a place like Los Angeles or New York. And I think that has its good points and its bad points. Again, like I said, I think some of the culture here, some of the stuff you go out to see at night isn't necessarily as rigorous as it might be in a city like LA or New York. But at the same time, it saved me.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“And he really was totally correct. This was a guy who'd been born and raised in Manhattan. And the thing that I now understand is that Manhattan is an amazing city if you know what you want out of Manhattan. It is a place built on and for ambition. And the people who get their work out and get seen in Manhattan have busted their ass to do it because it's the singular focus in their life. And it means culturally it's a really important city because only the stuff that has been fought for gets to your attention. And I think that many great cities are like that. Los Angeles is totally like that. Chicago and London, et cetera. The world's great cities are worlds where the culture is something is a competitive one. But if you don't know what you want to do, a place like Manhattan is a very cold and weird.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“Yeah. So my early, I lived in Manhattan from age 18 to 23, from 1985 to 1990. And then I moved to San Francisco. And the move is really the turning point for me in that understanding of specialization. And the fact is my closest friend still in New York was telling me in 1986, your problem, he said, is that you have talent but no ambition. And he goes, Yeah, if you had ambition, you wouldn't be talking to me. You'd be saying, I'm sorry, Mr. George Lucas. I can't make that by Tuesday.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“My peers in that program were really serious about the craft of acting and I wanted to be an actor. And there was a, I got very quickly that there was a fundamental difference between their drive to study the thing and my desire to be a thing. My desire wasn't a real desire. It was more like a theater. It was more like a theater flat of desire. There was nothing behind it. So I ended up giving that up. And by 19, I stopped going out auditions and I stopped taking it seriously and I started concentrating on what I was doing for work, which was to be a graphic designer and assistant animator. And I started doing a lot more working with my hands.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“I thought I was going to be an actor. The drama club was definitely my people, the theater group in high school were my people. It was where I found acceptance and camaraderie and collaboration. And by the time I was 15, when I was 15, I wanted to take it seriously. And I knew that my dad had worked in advertising in the 60s. And so he reached out to an old friend of his, Charlie Kimbro. Charlie is famous for playing Jim Dyle on Murphy Brown. And Charlie was one of my dad's oldest friends. And Charlie introduced me to his agent at ICM, Doris Mance, and she took me on and started sending me out on commercials. And I got the first commercial I auditioned for, which was to play Mr. Whipple's Stock Boy in a Charmin commercial. And I thought, oh, this is it. It's that easy. I went on an audition. I got a great job.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“Pop rivets, and it's where I learned my dad taught me all about pop rivets, and we used about a thousand of them in this suit. And I wore it to class. I felt amazing. And I immediately passed out a heat exhaustion in third period from the oven that I was wearing. And I woke up in the nurse's office. And like, this is one of those moments in life where you feel like a screenwriter is writing it and maybe they're a little too on the nose because I woke up without the armor on because they basically removed it from me because I'd passed out and I woke up and went where's my armor All right, I get the analogy of the armor being both physical and theoretical, but Jesus, we can tone it down just a little bit.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“Could Yeah, the suit of armor has its origins in 1982 of going to sea, which was the year, which was my software in high school, 1982 John Bormann's film Excalibur came out with an amazing cast of Gabriel Byrne, Patrick Stewart, Liam Neeson, and some wonderful British actors like Nigel Terry, who played Arthur from the age of 17 to the age of 65. And I was blown away by this film. The armor in it is so beautiful. The knights wear their armor all the time, which was certainly something I wanted to do at 14, 15 years old. And I made two suits of armor inspired by that. The first one was in my sophomore year. I made one out of cardboard replete with a white horse that I wore around me, like one of those silly horse costumes. And then I made one out of roofing aluminum.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“Find it years ago Yeah, they still don't stream. You have to buy physical DVDs. And this is actually, you know, I've been recently getting into more Japanese anime and some of the really Satashi Ono and I'm not getting that name right. I'm sorry. But there's some amazing filmmakers and so little of great Japanese animated cinema streams in the US. So I'm firing back up my old DVD drives for the laptop in order to be able to watch them.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“With what that process is, the process of putting on costumes, transformation, enjoying that transformation with others who are as weird and wonderful as you are. And there's no end to it. And no face was where tick of consciousness about what it could be.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“And even though it was expensive costume, and I put it together in about a day, the effect that it had on people when I hit the floor at San Diego Comic-Con was shocking. And not just shocking, like they were surprised, but I was also handing out gold coins to people from beneath my. I had chocolate gold coins. So every time I took a photo, I'd hand one out to someone. And then someone's, people started giving me back the gold coins angrily. I could feel them, grab my hand, put the coin in, and it turned out that, of course, it's bad luck to take gold from no face in the film. And this was like the expansion of my mind about what cosplay really was, that it is a form of theater where the audience and the performers are all one thing. And we are all playing on about a narrative that we love. And it started a lifelong, fascination.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“Some of that. So once I started attending Comic Con really regularly and thinking about putting on big costumes, I made a no-face costume. I think it was my third or fourth con. And I have over 75 costumes and some, I mean, like the Kane spacesuit from Alien behind me, that took 14 years and cost me probably $10,000 of my own money invested in that suit and the commissions and the collaborations. No phase here cost me about $75. I think the most expensive single item was arm length matte satin gloves from the lusty lady drag queen store here on Mission Street that's no longer around.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT
“So, Spirited Away is also one of my favorite films of all time. Without a qualifier, that it's animated. Hyomiyazaki is one of the world's great treasures as a storyteller. And spirited away is a mind-blowing film. I love explaining to people that it's an entire universe that you only get the tiniest details about and yet you're clear it's a completely consistent universe. And the film is about a little girl who loses her identity in the spirit world. And with the help of this strange, needy spirit name, Koniyashi, or Noface, she gets her name back and is able to escape the spirit world. And at one point in the mid-90s, I was at a Halloween party and I saw really terrible rendition of No Face, but still seeing a no-face in person made me jump. And I thought I really want.”
2019-04-30 · The Tim Ferriss Show · #370: Adam Savage on Great Tools, Great Projects, and Great Lessons · IDENTIFIED FROM THE TRANSCRIPT