Supernatural: Guy Norman Bee, Director | Interview, Part 1

Over drinks, Berly and LA chat with Supernatural director, Guy Norman Bee, about his episodes through season 7 and his background as a Steadicam Operator. Now, let's get tipsy!  CW/TW for violent and lewd commentary; listeners beware! 🔞

Summary: In this episode of the Denim-Wrapped Nightmares Podcast, hosts Berly and LA interview Guy Norman Bee, a director with a rich history in Hollywood, about his experiences directing episodes of "Supernatural." Bee discusses his transition from camera operator to director, his work on various TV shows, and his approach to directing horror episodes like "Asylum" and "Family Matters." He highlights the practical effects used in "Asylum," inspired by Asian horror films, and the challenges of filming "Frontierland," including the use of a repurposed set and the casting of Rick Worthy as the Alpha Vampire. The conversation also touches on the importance of treating material seriously and the collaborative efforts behind the scenes.

Resources:

• https://www.imdb.com/name/nm0066218/
• https://en.wikipedia.org/wiki/Guy_Bee

Transcript

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Berly: 0:01

Ellie, welcome to denim wrapped nightmares, a Supernatural rewatch Podcast where we explore the TV series, episode by episode, over drinks, we'll discuss the lore the gore and what we adore about the Winchesters and their adventures. I'm Burleigh, and I'm a new fan of the series. I'm

LA: 0:20

LA, and I'm here along for the ride. Hello, LA, hey, Burley, today

Berly: 0:29

is our first gamble era interview. We were fortunate enough to get a director who had episodes in both seasons six and seven. So why don't you tell our audience who we're talking to today. We

LA: 0:43

are talking to Mr. Guy, Norman B and he has become one of the most sought after one hour drama directors in Hollywood since 1999 his television directing credits include, there's some good ones. Er third watch, Las Vegas, Veronica Mars, supernatural, Jericho, Criminal Minds, Kyle XY Terminator, The Sarah Connor Chronicles, Arrow revolution. Southland, the witches of East End. I zombie, the magicians, 12 Monkeys, blood and treasure and many more. Prior to making the difficult jump to Director, guy worked consistently for 12 years as a Steadicam camera operator, honing his skills in the 90s on such monster feature films as Austin Powers, a Spy Who Shagged Me bow finger, Deep Impact, Titanic crazy in Alabama, Peacemaker and more.

Berly: 1:43

We did talk to him a whole lot about supernatural and his background. Yes, yeah. We learned some things. We learned a lot of things.

LA: 1:51

Yeah, I'm very bummed for our listeners that they can't see his adorable dog. Well,

Berly: 1:57

if you're on Patreon, you did get a little video. I couldn't help but using the picture and some stuff, so Oh, good. Some people will see it. But without further ado, here is our conversation with Mr. Guy, Norman b

Guy Bee: 2:17

It's amazing to me that this show, which you know, when I did my first episode 20 years ago, was just like this small, little CW retelling of, you know, the way it was described to me, a pitch to me by my agent was, it's, it's retelling of, like classic, like urban myths, like, you know, the hook man and Mary worth And the prom queen that hits her heights, and the guy comes to check on her the next day, and the parents say, Oh, she died a year ago tonight. So that's how it's pitched me. I said, Yeah. I mean, look, I mean horror is not my first love. But you know, most of my favorite movies, as you know the filmmaker, are like Exorcist, shining jaws. I mean, so I love horror. I love, well, told stories like that. So I think I got the gig through David Nutter, who directed the pilot. And David and I had been old friends. I mean, I was a camera operator for 12 years, from like 88 to 2000 and so you're right, I transitioned into directing in 2000 so I had operated for David on a couple things him and I spoke kind of the same cinematic language. So when I started directing, he recommended me for stuff, and this was one of them, because I didn't really know anybody else associated with the show. I mean, I had done a bunch of third watches how I got my break and director, and that was Warner Brothers. So the execs at Warner Brothers saw my name or were comfortable with me that way, but Bob, singer and Phil and Eric Kripke, I guess I did know Eric. I interviewed with Eric a year before for a short lived thing that he did called Tarzan with Mitch palegi was in it, and it was Travis FIM was Tarzan. I met with Eric about being the producer, director and going to live in Toronto to show and I ended up not getting that gig, but they gave me an episode of direct. But by the time my episode came up, it was one of the like, if they got picked up for 13, which is standard, it was probably like 10 or 11, and by the time they got to Episode 10 or 11, they'd already canceled it, so they paid me not to show up. So I guess Eric did know me, but we weren't super close or friendly,

Berly: 4:22

so you had never done any kind of horror before that. No, I

Guy Bee: 4:27

mean, you know, maybe, maybe that might have been, at the at the time, the scariest thing I'd ever done, because a lot of how I cut my teeth was on, you know, the third watch, which was like, sort of procedural. And then I think I did alias in Las Vegas. So I was doing, you know, classic one hour dramas, you know, of everything right when I got there, they to do episode like seven. I think they just got picked up for the back nine. So they were all on a high it was a it was a good crew, and I knew a lot of the. Crew already, because they had done true calling the year or two before. But true calling got canceled. They just pulled a lot of that crew, so I knew, like, probably easily 50% or more of the crew already when I showed up to prep, which was cool, because my reputation preceded me. You know, they're like, Oh, guys coming up, we're gonna have a good, good time on that episode.

Berly: 5:21

That's cool. We just finished season seven, as you know. But I remember back in season one, and you might remember this too, LA, that I was so impressed with asylum. To me, it was the best episode that embodied a horror short film.

Guy Bee: 5:36

Yeah, we were lucky. I mean, they sort of John scheiden, who co wrote that was one of the X Files writers. And so John knew from coming up on X Files, because they had X Files, and shot up there for years from like 93 to whatever 98 so John would come up as a producer, writer, and he knew the this abandoned mental health facility called Riverview. Everybody shoots there. Almost everything I've ever directed to Vancouver will, if we don't shoot there, we definitely Scout there, because it could be a hospital, it can be a high school, it could be a million things. Anything had shot Vancouver, everybody knows Riverview. And so he kind of wrote that with this, with Riverview in mind, and it became a character. Because I think, you know, the nine days of asylum, I think easily six or seven were in Riverview, which is kind of unusual, because, you know, usually, the pattern is usually like maybe four days in, four days out, utilizing your sets and your stages. And then the other thing about, I remember about asylum was John sent me two DVDs of things that they had been watching around the office to kind of get in the mood for the horror of it all. And they were two Asian horror movies. This was kind of right when the rig and the grudge were being remade. One of them was called a tale of two sisters, which I believe was Korean, and then the other one was called shutter. I think that was from Bangkok, Thailand, and they're low budget, like all the all the scary things are practical in camera now, no visual effects, but they're super effective. In my hotel in the middle of the day on a Sunday, I remember watching, like, shutter, and I had to, like, turn the TV off and leave. Let's take a walk in a bright, sunny hotel room. It scared the crap out of me. They both were remade as American movies. So I can't remember off the top. I think they think a tale of two sisters stayed the same. I think shutter, they may have changed the name of it, but they were done with like I think Elizabeth Banks was in one of them. But the if you can find the originals, they're really good horror movies. If you're not a fan of horror movies, you will be after those two also as a filmmaker, knowing that they didn't spend, you know, a million dollars on an effects house, that a lot of effects were done just sets a mood and a style, and it's all the things that the director's wet dream is to manipulate an audience. And so that's they do it really well. So they sent me those DVDs, and I remember studying up on those on the weekend and getting inspired, because they were really well done,

Berly: 8:03

kind of a different vibe in season six and season seven, not white so much horror. Would you agree?

Guy Bee: 8:09

Well, it's a weird thing, because Kim manners, who was the producer, director, who came on slightly later, he did dead in the water. And they, they loved it as a show Warner Brothers, and they so they made Kim, who had directed 50 episodes and been a producer on X Files. So he, you know, it was kind of a legend. So they made him the producer director. And so when I was up there doing and Kim and I went way back much, much like David Nutter and I, when I went up to do asylum, Kim was like, Hey, man, now that we got the back nine, we're going to start slotting in directors. You want to come up here and do some more of these? Yeah, man, I like working with you and the two fellas. I just met this guy, Jensen, and this guy, Jared. They're really cool guys. They're like, manly man, you know, they're like, really cool, funny, funny, shit, twisted and funny. And it was right when, like, a lot of those, like viral videos were coming out, and so Jared was way into that. So we sit around and look on somebody's phone. So I said, Yeah, come on, do as many as you guys will throw at me for season two. You know, don't forget about me. And, you know, I got busy again. Way it kind of works is like, you know, they'll, they'll reach out to your agent. If you're not available, they go, Okay, well, we'll check back, and they check back, and if you're not available again, they'll say, Well, you know, we'll check back and do that two or three times. They just quit calling. And it's nothing personal. It's just like the old guys busy. And so basically, what ended up happening was I went for five seasons after that without doing another episode. I'd come up and do other episodes of other shows in Vancouver and reach out to the crew, and then Jensen and Jared and I became pretty good friends and say, happened to be up there in a week for three weeks to do an episode of whatever was based up there. They're like, All right, we're gonna, we're gonna get, we'll get the gang together. We'll go out for dinner. So we go out for dinner and drink. So I kept in touch with those guys, and so when it got to season six, I changed agents. One of the debrief things was like, All right, tell me any shows you had a problem with. Tell me any shows and show runners You did great with, and we'll reach back out. Was, you know, new new attitude, new direct, new agent, new direction, whatever. And so I mentioned some stuff, and then at the end of it, I go, you know, just not for nothing, but I did this show in 2005 like, five years ago, still in the air. Supernat, great time. And, you know, the guys always wonder why I never got invited back. My new agent said, Well, let me reach out to Bob. Bob singer and I are old friends. We're both San Francisco Giants fans will reach out to him. So later that day called me. He goes, they love you. There was just some timing and all that. And so they, you know, they got, they're definitely doing a season six. They'll throw you on for the beginning. And that would turn out to be family matters. So to make a long story short, I come back in season six after a gap of five years. Everybody was happy to see me, and it was, it was a lot of fun. And I got to cast this really cool actor who I didn't know, named Rick Ward Lee. I became really close good friend, but once I turned in the cut of that, they said, Hey, we're gonna we have an episode open up in the back nine. It's gonna be their first western episode. It's a thing called frontier land. They had kept that slot open every season. They kept one slot open for Eric Kirk. Casey wanted to direct an episode, that he passed. He said, Well, you know, look, I handed the show off with Sarah. I'm going to pass on directing season six

Berly: 11:08

family matters. There was the weird warehouse with the random cage in the building. First, I have a non director question, do you think the hunters built that cage, or do you think they found a building with the cage?

Guy Bee: 11:22

I think they found an abandoned warehouse because, you know, the express purpose was to keep them strapped down blood, you know, the dead man's blood going into it, so it kind of neutralized him. Then, of course, the cage with the chain, you know how them saw strapped so he couldn't leave. So they thought so. They found a abandoned warehouse and built that in case they are in the event or when they eventually find and catch it. That's always how I interpret it.

Berly: 11:49

I can go with that. But speaking of that set, how elaborate was the set and how difficult was it to film in there?

Guy Bee: 11:56

You know, that was our we built that Jerry wanak and his crew amazing. We could spend a whole two hours talking about how incredible that production design art department team were, as well as Serge With cameraman, who made everything look so great and did it so fast. The episode before that, there was a whole, like, a hot tub scene, a scene that happened. It was like, I don't know if it was a hot tub, but it was like spa sauna kind of setup they built that for that episode. So when, when they were finishing that episode, shooting it, and I was prepping, Jerry and I walked down there, and he said, you know, we could cover this with some kind of grading and put lights in what used to be the hot tub, so we upload it and put the cage here, and I'll finish off these walls. And they had to build me like that long staircase for Crowley to come down at the end, when he starts clapping up there. And so we repurposed a set from this episode before. So we saved a ton of money. Producers were very happy. And you know, she's having the vision to say, you know, as a director to go, Yeah, it's cool. We built a couple little hallways leading up to it. But a lot of that stuff, like the exterior, and then the original coming in and going down the hallways and flashlights and the guns, that was all a real, not abandoned, but a warehouse set up. I think there's an island in up in Vancouver. I think it's like a sugar factory or a salt factory or something. So they have, like, this massive manufacturing plant, and they're happy after hours to let us go in there at the time, let film crew go in there and shoot these different hallways and things. So we specified which ones, pre lit them, got them set up. That was, that was a set that just repurposed and worked out

Berly: 13:41

great. Did your background as a Steadicam operator help you with shooting all those close ups of a man behind bars?

Guy Bee: 13:50

You know it's a camera operator. You're you because I did that for 12 years, right? 88 to 2000 so I did some big movies as a camera operator. Started out doing super low budget non union music videos. Got enough days to get in the union. Did some low budget TV shows featured, you know, that is the main a camera operator like Peacemaker and crazy in Alabama, and got Austin Powers.

Berly: 14:13

Titanic. I saw Titanic. Yeah, I did Titanic. Went down and

Guy Bee: 14:17

worked on it for about three weeks. My background as a camera operator on different level of budgets through the years, always helped out. But what was neat is that when we built that cage, we talked about the frequency the bars. Now the obviously, the bars can't be too far away, or somebody else stick their shoulder through it. They can't be too close, because then it's impractical to shoot. So we kind of set it, I think, in a standard with the way, you know, there's a standard that, when they build a jail, that how far the bars are apart. And I'd said, Look, you know, there's, there's something interesting about the audience, not quite ever getting a clear look at the alpha or and then the alpha's point of view towards our boys. There's going to be times when the bar is going to go right through their face. And you kind of, you got to use that to your. Advantage, there's a great story about the movie Rosemary's Baby, where they were setting up a shot where Ruth Gordon is supposed to be on the phone in a bedroom, and somebody, it's probably Mia Farrow's point of view, threw a doorway and she sees her on the phone. The American cameraman, Bill franker, sets up the shot. It's perfectly framed. You can see Ruth. You see edgy bad the phone. Roman plaski goes, No. Dolly over this very thick Polish accent. There's dolly left about six inches. They dolly over, and it kind of obscures half of her. And he goes, Okay, that is perfect. And Bill's like, but this looks like a mistake. He goes, No, no, this is the way you want it, because it's a mystery. It's not supposed to be so clean. It's not supposed to. So Bill Franklin tells the story that he was like, reluctantly, okay, you're in the auteur, the great European filmmaker. All right, we'll do it. It wasn't until the first screening with a theater full of people that when they got to that shot, they cut to that shot the entire theater and leaned to try and see So again, a director's wet dream is to manipulate the audience's emotion, feelings. And so breaker said that instant, I was like that, he was absolutely right, and he did what you're supposed to do in a mystery is it's not supposed to be green. It's not supposed I mean, you know, we did some really slow, creepy dolly stuff, because that's just what filmmakers do, and that's a staple of horror movies or, you know, just kind of like slow reveals and sliding across. But generally, I did a lot of stuff where I just parked the camera. There was no reason for the guys to be moving. Obviously, Rick could move into the Alpha. I think all that, like, kind of being obscured by the bars, just worked such a treat to buy advantage all the way. Quick word about Rick. You know, I when we, when I read that script, you know, we always have a casting director in LA that does sessions for certain actors. We know, usually one episode, one person per episode is, whatever the big guest star is, not always. So I mentioned I knew a guy named Nick Lee, who's a local Vancouver guy, and he was, he played cry check on X Files. Nick had never been on the show because I said, Yeah, we should see if Nick Lee wants to do this. That's great. Yeah, we'll bring him up. We, you know, we ran a session with with Nick Lee. Nick was great. We went on to play Ellie and Ness in a future episode. So, so Nick ended up getting a slot on the show at some point. They said, Well, who else would you think of that? You know, la base. And I said, Well, I'm a big fan of Cuckoo's Nest, and the guy that plays Billy bit of it, Brad duro. He's also Chucky. He's the voice of Chuck so I guess they checked into Brad, and I guess Brad was either not in tune or not available or something. But Sarah had worked on a show called Eyes a couple of seasons earlier. One of the regular cast members was Rick worthy. And I didn't know Rick's work at all, but they sent me the tapes up, and the second Rick opened his mouth, I was like that, of course. Why would we look anywhere else? It is. The great thing about Rick is he is 100% 180 degrees off of that, that vibe. He's the sweetest, happiest, joyous. Could be a nicer, true gentlemen. And we became, we became really good friends. And then, of course, I got to see I got to work with him again on the next the other episode. So yeah, Rick worthy, one of the greatest human beings on the planet. I love the bet. We're interviewing

Berly: 18:13

him on Sunday.

Guy Bee: 18:15

Oh, so you're so lucky. He's the best. He is the best. We're

Berly: 18:21

excited to talk to him. So one more question about family matters, which, by the way, your direction and his subtle intensity that he chose to go with for the alpha character? Yeah, I don't know if that was directed or not. Those two things complimented each other so nicely. It

Guy Bee: 18:38

was. It was a little of both, because the audition process where you want to tweak them so you see that you can that actor is directable. Some actors come in and they just, they made a choice, and it was perfect. In the back of my head, I'm like, This is it. I'm going to shake them up to see if I can get an alternate just to see that I can direct them. I was trying to find a time, a lot of times, during their wardrobe fitting, when we're trying stuff on that we can talk about, hey, you know, there's that one scene, you know, there's not a lot of time that you got to shoot. Anytime you're not rolling the camera, you're going backwards. So he came, I think he came up with, you know, like, a day too early, as per usual, his initial, you know, interpretation of it was, and I always say this too to a lot of actors all through my career, was, the dialog is doing the heavy lifting, so there's no reason for you to add any stake on it. And that's what you do on soap operas and cartoons and stuff, and that's you're creating a caricature. You're not a character. So Rick didn't do any of that. There's a line where he cuts off Jared or Jensen and says, like, we're going to war. And it's a major question mark. And I think it was probably scripted. Things have changed or like was, like, we're going to war. And that's the way a normal actor would do it. But if you see the way he does, he goes, like, we're going to war. I mean, he, he threw it away. He took the question mark off a bit, and that, that I can't remember, that may have been my note that, Rick, do I have a version where you make a question but, you know. Know that it's not, you know the answer. You know. It's like a prosecuting attorney never asked a question that he does already know. There already know the answer to, I said, you know, you know all the answers. So you know you've got, even though you're the one that's locked up and, you know, strapped down, you know you're getting out of here eventually. So you don't need to, you know, get big, muggy, any of that stuff. And I love, I love his reading and the choice he made. And so, you know, again, I get, I just get out of the way when it comes to a really good actor, and just sit back and enjoy and just, you know, just nudge people in a direction. I mean, I always say I'm a nudger, not a direct they got the part because they were probably the best auditioner, and they got the part because they're skilled. And then you get into the minutia of what, how, what, what can make this performance better than what's on the page, and someone like Rick is just so good at finding that stuff. And what was a lot of fun is, years after supernatural, we got reunited on a show called magicians. Sarah gamble still, Sarah hired me to do a few of those, and so Rick was a regular on that was fun to play in a different sandbox with. You know,

Berly: 21:06

okay, what? One more question about this episode, and then we'll move on the cavity search in the very beginning of the episode. How did you all do that?

Guy Bee: 21:17

Yeah, it's funny. I think that. I think that was the first scene I did, and I literally met Misha that, yeah, a few days off, or a week off or something, and they had to get in bed to touch up his grades. I don't think that's a boiler, but so he was, like, in the hair makeup trailer. They were making his hair dark again, but, yeah, I mean, that's real simple. That's like a mannequin body, and they cut, like, you know, grapefruit size hole in it, dress it like, okay, yeah, there Jared. So Jared leaves, and we just put the camera focused just on the chest area. And I think they put something for a little bit of resistance, maybe, like a piece of foam so it doesn't go right through,

Berly: 21:58

like, you know, there's no resistance. That was going to be my next question,

Guy Bee: 22:01

yeah, like playing handball on the drapes, right? Doesn't work. So, and then, you know, we knew we were going to do some kind of flashy, kind of, like, you know, visual effect. You put a fee on a slate. So if it seemed 21 you put V 21 so the editors know of there's an upcoming visual effect for this, so they flag it and edit, usually it's in the script. You know, that there's some kind of, like visual, like, light comes out of the cavity. So that's actually a pretty easy setup to do. You know, they have a shirt that's scored in the right area already pre, pre kind of scored. We have these meetings, like the seven days of prep that a director does before they start shooting. It's non stop meetings where, you know, you got the prop meeting at nine o'clock, and then at 10 o'clock, the visual effects guys are going to join us, and then the physical effects guys will join us around the same time. So we talk about, you're gonna, you guys are gonna do that. Okay? I got the mannequin body, okay? And then, like, three days later, we'll do a show and tell, where they bring all that stuff up to the conference room, and we all gather around. A lot of times, they'll have done this already three seasons ago, and they'll say, you don't really work good, and they'll have a clip, and they'll say, here's what we're expecting. Okay, cool, let's do that, you know. And that's where anybody throws the paint. Red flags of produce will say, well, it was too expensive. So you get all those beatings out of the way, plus, you know, then you go location scouting and you go to casting session, your seven days of prep. While they're not full shooting days, it's usually like nine to six, jam packed, most hard work you'll ever love. I always say

Berly: 23:30

you'd have to love it, right? Oh, yeah, that's that frontier land was your next episode in Season six. And I imagine prep and everything for this one was probably very different, because it seemed like family matters. You're mostly on stage frontier land. You were mostly on location, correct? Yeah,

Guy Bee: 23:49

we knew, like, you know, the writers checked with the producers early on, before they wrote this thing, and said, you know, if we write a Western episode, how can we do it and do it, you know, with a on a on our budget. And there was this show years earlier called border town, in which they literally built this town. It's in a city called White Rock, which is almost right on the border of the US. So it's a little bit of a hike for Vancouver, me and the actors and surge, like some of the, some of the department heads, we got these little cheese ball hotels out there. You'd work all day, and the last thing you wanted to do was drive another hour, hour and a half, back to the city, so for three nights or whatever. So I think we were out there four or five days in border town. But of course, I read the script, and the first page is this kind of shootout. You know, this Gunfight at okay, corral, and I'm picturing dusty tumbleweeds rolling through, and we're just gonna shoot this in January in Vancouver. I'm like, There's no way it's ever gonna you know, I didn't know at the time about the border town set. In fact, when I first read the script, I thought it was gonna be like a dream, like Dean was gonna wake up from it, like, well, man. And it was just a dream. Of course, it wasn't because they had shot there before. I'm trying to remember, there was kind of an episode that they used some of those buildings, so they the crew had shot out there before then, so they were real familiar with it. So it was just like, Okay, we got the saloon, we got the police station, we got the area where, you know the shootouts gonna happen. It was a matter of going around and flagging that. And of course, Jerry was like, this is sort of what I pictured when I read it. When you think guy, we block that off, you put the corral here. The only problem was, you know, that thing sat in the rain for years and they never maintained it. So you'd walk in to some of these sets in the floor. You go right through the floorboards. They're just brought wood. We would a lot of these places we would scout and say, Okay, we're going to finish this. To be the inside of the saloon, they had to go through with new plywood. And, I mean, our department did an incredible job, because that was a full on town. We built a graveyard and colts, Samuel colts cabin we had to build out there. Yeah, that worked out pretty good. I mean, we had some days on stage it was all the stuff with Bobby and Misha back at Bobby's house. And that was the heartbreak of the whole thing. Is like, you know, Jim Beaver, who I was friends with a little bit before supernatural spent all that time was on the deadwood, never got to ride a horse, and they ride a supernatural episode that takes place in the old, you know, Old West horses. Of course, Jim's like, sit, sit on my thumb here and my house. I can't even ride a horse. Super natural. I mean, aside from all the cool stuff we did in the old west, I really like the scene where, where Misha, his character, has to kept the L has to kill the angel. He ends up like, you know, stabbing her, or getting her to kind of stab herself as she lays down with crane up, and you see her burnt out wings as a visual effect. But you know, we had to get the crane in the right spot and talk about, okay, where the wind's going to go. So it's nice to see that finished shot come together sort of way. You know, you're pitched and talked about and designed the guy who played the Phoenix.

Unknown: 27:03

Matthew, Matthew John Armstrong. Matthew John, yes, that's it. Yeah. I

Guy Bee: 27:08

think Phil and Bob had worked with him on another series, and they pitched him, and he was great. Could not have been better. Matthew was. He's, you know, it's like, it always boggles my mind that somebody like that is not a bigger, more famous might be by choice. I don't know. I certainly have nothing but fond memories about how good he was. He does a great line in there where he walks up and he goes, You know, when he's when he finally shows up to kill the Gordon's character. You know, they put it. You know, that's what Dean traps him to come in and grab the nail, and he sees it burns him. But he's got these great lines. That was all Matthew, where he goes this man, he tried to kill me. Of course, I don't die. But, you know, that's one of those that could have easily gotten into. Yosemite Sam, muggy cartoony car, you know, comic bookish over the top, and he just kept the line. Was perfect. I was so happy with it. And all my guest stars on that were all like, sort of all Vancouver, kind of all stars, the girl who knew with the bad teeth, the hooker with the article, Darla, that's April, telling April was like former Miss Canada, and I'd worked with her on something before, and she's the coolest, sweetest, most beautiful girl you've ever met. In fact, one of the days, because every time she came on set, she had the shitty teeth and all that, one of the days she goes, she leaned over to me. She that just feels so bad, because I know a lot of this crew, and there's other people that I don't know on the crew, and they must think I'm so hungry. I said, when we wrap, go get all that stuff off. You come back in. Because she did. She came back in, like an hour later. I go, guys, I just want everybody to know it's one of those beautiful women I've ever met my life. April, telling, of course, half the crew knew her already. She missed Canada. She's sort of a local Vancouver all star. I was real happy with that cat.

Berly: 29:01

I'm surprised to hear that she was maybe feeling a tinge of insecurity, because I thought she ate up that performance. You're so good, she hammed it up.

Guy Bee: 29:10

Yeah, it's a it's a fine line, because it has to be sort of a height sense of reality. Also, you know, we're, we're telling an audience, we're going to send people back 150 years in time, and we have to buy that. And I always say the EV to that show what Jensen and Jared did so well all the years was as absurd, as crazy as the dialog was in the situation where they treated it like it was real, every time there was no waiting at the camera, there was no this is ridiculous. They just they went into it with like, we don't take this very hard serious. We how's the audience going to take it serious? And they, and I think that that's sort of the unsung hero of the show, is this guy's attitude about how they treated the material. Because obviously the fandom went with them every second of every show and bought it, loved it. Couldn't get enough of it. And I used to do for 15 years, very rare.

Berly: 30:04

Did you get to have any input on the costumes and frontier land? I

Guy Bee: 30:08

really like the idea that, you know, as soon as written that way, and as soon as they decide they're going to go back the Jets, you know, Dean's care justice character, Dean goes, alright, I'm going to do this the right way. And he goes out, you know, to, like, shop, and has all the he comes in with the shopping bags. And then, of course, Sam was like, No, we're not, no, no, you're shown an array of stuff or which way to go with it. There was the whole serape. I was just talking about this with somebody. If you watch that scene where they show up and they watch them hang, you know, they watch the gallows scene, and you see the one guy turn around with nice blanket. You finally see where Sam's like, Okay, I've had enough of her. Dean's club. I've had enough of this. It was scripted. He takes off and he throws it down in the pile. He's got a hat on. Is he gonna hand the hat to Sam? Is he gonna how's he gonna do that? And it just shows you how smart, intelligent Jensen hackles is because he goes, he goes, Well, how about this? What if I put my hand up underneath the hat and take it over? And he did it. And that's if you watch that scene again. That's how it did on camera every take. Nailed it as soon as you start talking about taking hats off. Now you're talking about the props are like, well, you know, don't drop the hat. The hair department's like, because they're gonna have to touch it up between every take. And it just shows you how smart Jenson is, because he again, if you watch that, there's a scene that we cut out where they walk down the main area. It's right before they go into Sam's like, this is, you know, let's just do this. Get in, get out. Like, Well, I'm gonna do it. I'm gonna enjoy this a little bit. This is going to be awesome. We cut from the yellows to this shot. They come through the saloon, and he goes, looks around and goes, this is not awesome. So the cut was supposed to be this. It's going to be awesome. This is not awesome. There's a long walk and talk. It was cool because we had all the like, we call it, all singing, all dancing, with every animal, every extra, everybody coming through. I mean, there was goats and donkeys and everything coming through there. Wow. It was great production value. And just, you know, the shows, they always run longer than you have, you know, you have, like, 43 minutes to fill up because you put in the commercials there, that's the hour. Generally, most shows will show up a little over 50 minutes. So you have to cut some stuff out. So unfortunately that hit the editing of the floor, and we get back to wardrobe. It was pretty straightforward, but, yeah, having fun with the serape and the blanket, whatever we want to call it, all the ideas on pitch. We

Berly: 32:32

were both big fans of the Phoenix's look, the all black,

Guy Bee: 32:36

yeah, the big, thick duster they call there's, there's a company from Australia called dry the bone, like D, R, Y, Z, A, B, O, N, of course, dry as a bone, but dry as a bone. And they're oiled leather. They're like a dark brown a lot of the crew has them, because if you work in the industry, in the rain, they're completely waterproof. And they're they're duster, so they go down your path muscle area. So I said, Yeah, I mean, like a black version of the drives bone, but that was the idea.

Berly: 33:09

We ended up talking to Mr. B for over two hours. LA, I know it. And whenever I was editing, I got the conversation down to about an hour and a half, and I decided, You know what, I don't want to get this down to under an hour like we normally do for our episodes. There's too much good stuff, right? So we have split this interview up into two episodes. So stay tuned to denim wrapped nightmares for our interview with Mr. Guy, Norman b part two. Cheers. Thank you for listening to denim wrapped nightmares. Follow

LA: 33:47

us on Twitter or Instagram, leave a review and let us know how we can get involved in the fandom. This

Berly: 33:53

was fun, jerk. It

LA: 33:55

always is, bitch. You.