Interview with John Takis on Soundtrack Production

Hi, this is John Takis, writer and album producer,

and you are listening to the Geekcast Radio Network.

Hello and welcome to geek cast radio, this is

yet again another interview I am your host TF2

and Mike and Joining me almost I think it's almost

a year or so since the last time I'll have to

look this up I actually I just had it up on geek

cast radio comm I believe it's been almost a

full year since I interviewed Neil S. Bulk, one

of the album producers who works on multiple

label records. Oh no, actually Neil was five

months ago. Okay then. Yeah, I don't know time,

ladies and gentlemen. Neil S. Bulk, he has worked

with La La Land Records and other... Companies

and we talked about lethal weapon this interview.

I'm talking to you'll have to make I Want to

make sure I get your name, right? It is John

Takis or take us take us is how we've said it

I respond to pretty much anything. Okay So, mr.

John Takis is here with us he is a album producer

who has worked on many many different projects

A couple of the biggest ones right now that most

people will know is the Superman The Animated

Series Volume 1 for disc set from Lull and Records.

Did you work on Batman The Animated Series Volume

2? I did. I wrote the liner notes for that project

and I did a little informal consulting, but I

was not a producer on that album. Oh, OK, OK.

He has recently just released this past month

from online records, Batman the Animated Series

Volume 3, which you did do the liner notes for

that. Other projects that people will know him

from, Star Trek Generations score. Interesting.

With Jeff Bond. Very interesting. Yeah, very

interesting. Let's see, what else will people

recognize you from? Star Trek Insurrection? I

did several of the Star Trek ones with Jeff Bond,

who mainly worked on the booklet notes while

I did track -by -track analyses for the website.

Awesome, awesome. You also worked on Batman Brave

and the Bold's soundtrack release as well. Willard?

Willard. Willard, a great one. Shirley Walker,

one of her finest film scores. Interesting, interesting.

Yes, and one of the reasons why I wanted to have

John on is because when when the Superman the

animated series set released I nearly fell over

fell out of my chair looking at that track list

because oh my god one of the things with Lonolin

Records and their DC animated universe I guess

contracts or whatever that they have set up with

Warner Brothers to get these things on to disk

I'm always wondering what scores they're going

to put on which releases. A few weeks ago, I

had talked with, actually, M .V. Gerhard and

Matt Verbois, the co -founders of All Online

Records, and we talked about, you know, Batman

Beyond, and Justice League, and more, you know,

Batman the Animated Series, and how they're going

to be going through and getting the stuff gradually.

Like, right now, what I am most anxious for is

Over the Edge and old ones from Batman the Animated

Series. I need those stores on a desk, especially

old ones. Those are fantastic scores. I've I've

I've watched those quite recently and Those ones

are from the the new Batman adventures, which

is what they revamped the show while Superman

was on the air So yeah, it's it's it's on the

agenda So that made the enemy series volume 3

just released like I said about a month ago or

so Well less than a month. Yeah. Yeah, it's about

21 days. Yeah three weeks. Yeah, something like

that It features Scores from eternal youth prophecy

of doom day of the samurai night of the ninja

A whole heck of a lot of awesome music for full

episodes. Yeah Yes. Now that's always interesting

to me how many episodes you guys can get on,

whether it's a two disc or a four disc. And I

noticed that with you guys working with La La

Land, they tend to at this point go with, especially

for the archival stuff, they go with the four

disc or the multi disc instead of just usually

the two disc sets. Yeah. Well, I mean, MV and

Matt, they're big supporters of this music and

They've been very generous in producing these

very generous length sets, which is wonderful

because it means that we can really spotlight

these scores in their fullness. Each one kind

of developed as its own kind of mini film score.

And so we've been able to put out a lot of stuff

that we wouldn't have been able to do in the

context of a compilation album. shows where where

the like you know Young Justice where it's less

you know broken down by episodes but you know

it's just it's the needs of the particular project

and the style of scoring and for these Batman

and Superman shows they really were conceived

as these these mini movies and and so thanks

to the again the generous nature of these sets

we've I think really been able to reflect and

honor that. Mean yeah at this point Batman the

animated series has ten total discs released.

Yeah, it blows my mind it really does You know

I this the show Came on the air when I was 12

I Can't say that I was, you know, there on day

one watching the very first episode. Batman wasn't

much on my radar. This is kind of the show that

put it on my radar, but I would catch it on,

you know, coming home after school. And I was

hooked very quickly. And my first exercise in

soundtrack frustration. was going to the local

Harmony House, people who are old enough will

remember that establishment, and saying, well,

I want the Batman animated series soundtrack.

I don't see it on the shelf. Can you order it

for me? And it took the clerk some time to convince

me that no such thing existed. and so that was

kind of my my first experience with crushing

disappointment um so the idea now that you know

we there's so much out and and more to come even

you know from these shows uh yeah it's it's quite

surreal to be working on it i mean yeah it's

got to be such a dream and especially now with

this third set for batman you've got You know,

I rattled off some of the episode titles earlier

a second ago. You got stuff like POV, The Clock

King, Robin's Reckoning. Yeah. I mean, you've

got so like one the one score on this set that

I have been. dying for since 1994 is the forgotten

yeah it's the um uh it's the dream sequence it

is the sweat box breakout trapped in the canyon

those the i i think it's the sweat box breakout

and trapped in the canyon those that track Is

that really, really Western feel kind of music?

Let's get that dun -dun. You got the harmonica.

You got the steel guitar. It's a really interesting

score, and it really shows the show's range.

There's no other score like that in the entire

series that combines those particular elements.

It's almost got a throwback vibe to it, like

in the 70s action shows. But there's also just

some gorgeous writing in there. You're right.

Yeah, the moment where he recovers his identity

and he has that little sequence and you see his

parents throw him up into the air and then he

doesn't come down and then there's the tombstone.

Yeah, Shirley could take an episode that had

disparate elements like that and combine them

into this wonderful functioning whole. in ways

that you just wouldn't expect, but that are so

wonderful to be able to listen to. And that's

a score that wouldn't necessarily have been fast

-tracked for volumes one or two, because it doesn't

have a major villain. It's not regarded as an

all -time classic of the bat literature, as it

were. But the music is just phenomenal, and it's

such a pleasure to be able to put it out there

at last. absolutely so give my give our listeners

a little bit of background on yourself how did

you get into becoming an album producer was it

that love of soundtracks and scores as a child

that you know because most kids most of us is

you know 9 10 11 year old kids say I want to

be a police officer I want to be a firefighter

I want to be you know A doctor or whatever. So

how did you end up becoming the album producer

to the stars? Well, my album production experience,

I should note, is relatively limited. I've done

a lot more writing than I have producing. And

while I can't say that I wanted specifically

to do that, I mean, I always wanted to be a writer.

And I remember getting some of those early, you

know, soundtrack albums back back when expanded

soundtracks were just starting to become a thing,

you know, in the 90s. I remember, you know, the

Raiders of the Lost Ark expansion that came out

and it had liner notes by Lucas Kendall, who

was, you know, doing film school monthly at the

time. And he did a track by track analysis in

there. And I remember the Star Wars special edition

trilogy, which had wonderful. notes by Mike Mattesino

and So at the time, you know, I was just a teenager

in Michigan and you know All this stuff is happening

very far away and so you don't think that oh,

well that would be me someday But it did get

me writing about film music specifically which

had been a passion of mine since a very young

child so film music and writing kind of came

naturally and I Discovered just thought just

out of high school. I think I discovered film

school monthly And I sent something in about,

it was about Jaws. I sent it into their letters

column and Lucas Kendall said, hey, how'd you

like to do some reviews for the magazine? So

I kind of cut my teeth doing that. And, you know,

it's like many things. You meet people, you form

relationships, and, you know, eventually someone

asks you to do something. So Joseph Koriak, who

is the art director for Filmsco Monthly, was

also, you know, did a lot of work for the record

labels. He was working for Entrada, and he said,

you know, we're going to be releasing more CDs

more frequently. How do you like to write? You

know, we'll give you a shot, see how it works.

And it just kind of went from there. With La

La Land Records, I came in because Neil Bolk

suggested me. on a project, which was Batman

Returns, which my favorite live action, Batman

Square, by the way, Danny Elfman, Batman Returns.

And so I started working for that label. And

MV and Matt, you know, MV knew knew what a passionate

fan I was of Batman, the animated series and

Shirley Walker. And he invited me to write the

you know, we'd talk about it. I'd send, you know,

information and my research and stuff. And, you

know, I was able to pretty much answer any question

that they could have come up with. So he said,

would you like to produce, be a co -producer

with Neil on Superman and Batman? And of course,

how can you turn that down? So but it's been

it's been a real pleasure, you know, everyone

there's at the label is great and has been very

supportive and Just really interested in making

these the best releases that they can possibly

be What had you more excited the Batman releases

or the Superman release well, it's funny you

should ask Back I can only put this I suppose

through the perspective of of what of what I

was thinking back before any of this happened

Right. So before any of this happened I Think

at the time I was on a real Superman kick and

While I would say my first allegiance was to

Batman and all that stuff at least with Batman

we had something We had an album for Mask of

the Phantasm that had, you know, it had the Shirley's

Batman theme on it. It had the Joker's theme

on it. As something representative of the series

and all of its breadth and majesty, you know,

it was woefully inadequate. But it was something.

Whereas with Superman, we had nothing. We had

absolutely nothing This in spite of the fact

if you go back actually and you look at old VHS

tapes of that world's finest three -parter it

says it says in the fine print on the back it

says soundtrack available and I I took that as

a promise, you know and tried to find it But

of course, it was just boilerplate someone had

made a mistake. There was no soundtrack available

I got to interview Shirley Walker in 2006 just

a few months before she died and We got to talking

about some of my favorite stuff. And at the time,

I think what I wanted most of all, more than

anything, because remember, none of this had

come out. I wasn't thinking about multi -disc

sets or anything like that. I was thinking about

something. I want something. And the number one

on my list was that two -part legacy episode,

the finale. Which was just I think the pinnacle

of Shirley's work on that series, you know it

came It was just an all -time Hi for me. So I

think probably that had me more excited than

anything else But of course at the time that

we wound up producing Superman at that time We

had already we'd had you know, two volumes of

Batman the animated series. So there again, you

know It was easy to be the most excited about

that. But Batman really was my first love and

where I think most of my my fan energy lies,

but I love them both. They're both phenomenally

great series and and and the superman set in

particular i i'm really proud of how that turned

out yeah i mean it's it's great it really really

is um i don't know how you guys can get i mean

this is 20 full episodes out of what 52 uh is

it 54 54 54 54 um so this is 20 full episodes

out of 54 I don't know. I don't know. How are

you going to get the other 34 onto one more volume?

Well, the answer is that we wouldn't, if there

was only one more volume, unless we wanted to

start chopping up the scores. And in that case,

we'd have to make some pretty severe cuts to

get all 34 onto four. Superman had longer. Typically

had had longer scores than the Batman scores

Just I don't know if it was because there was

more action or or or less, you know spaces for

brooding silence Yeah, Superman's really not

a brooder. He's more of a man of action more

of a man a little bit of brooding but but not

It's it's a show that's much more about light

and color and action You know he Batman Created

space for silence the Batcave, you know, Commissioner

Gordon's office. There are locations that Not

uniformly, but most of the time, you know, it's

the quiet reflective sound design, you know So

the scores for Batman tended to be a little bit

shorter than Superman Yeah, that's one thing

I've noticed looking through some of my playlists

and looking through you know, like Like, you

know started volume three with Robin's reckoning

The boy the track three the boy wonder track

is only 57 seconds, but it's 57 seconds of awesomeness.

Yeah. Yeah. Well, that's the thing. It's it's

It's there are shorter tracks, you know on these

sets too and it's it's just a question of how

it flows You know it for me. It was important

to present the material as complete as possible

and as chronological as possible just because

The way that the music develops and evolves over

the course of the episode, you know, it's it's

it's very carefully done They didn't have a lot

of time to waste in these shows, you know, they're

only you know 21 20 21 minutes of And if you

take out the minute and a half or two and a half

minutes that is the. Opening theme and closing

theme you have even shorter time. Yeah Yeah,

so I mean there there's not a lot of filler in

these episodes. The music always counted Shirley

and part of that is surely she was always involved

with the spotting sessions, you know determining

where there should be music and whether there

wouldn't and She just had great instincts great

dramatic instincts for For when when to bring

in the music and and when it would play better

without Yeah, I remember listening to the Superman

set and It always kind of worries me when I don't

hear anything when I know something is supposed

to be playing and There's a track somewhere.

I don't know. I'd have to go back and look and

find it You might know where it is, but there's

a track where on the Superman set where it's

her and Bruce Tim talking at the end of a cue

and she's talking about how Bruce and the WB

guys wanted, you know, full scores, no, you know,

no inserting just regular old music. They wanted

composition and everything else. And I heard

that and I was like, wow, I can't believe they

included that on this. Cause I wouldn't explain

music of the bat 101 on the first volume. It's

like, I wouldn't think a track like that would

be on there. You know, it, it, anytime we find

little things like that, that, that Illuminate

the creative process the behind -the -scenes

stuff, you know, we they're just it's a little

Easter eggs, you know it's it's I mean some of

the stuff some of the demo stuff is more substantial

than that because it really is as in music of

the bat, you know literally Shirley Walker sits

down and explains You know the creative process

of how this this theme, you know evolves and

interacts with With the material around it So

that's that can be very, very illuminating. And

then some of the stuff, you know, we just throw

on there as an Easter egg because it's fun. And

it all, you know, we want to convey a little

bit something of the spirit of the people who

are working on this. You know, this these these

were these were professionals, but they loved

what they did and they had a good time doing

it. And so, you know, it's good to it's good

to convey that. Absolutely. So as a producer

walk us through walk the listeners through kind

of what the The process is for you and what you

have to do to get something like Superman or

something like Batman volume 3 out to us as listeners

Well, it it's it starts above my level, you know,

it starts with where MV or Matt say, okay This

is going to be the release. This is going to

be the scope of the release In the case of Batman

and Superman, we may come down from the beginning

and say, okay, we're gonna include A, B, and

C, and then the rest has to kind of be put together.

so it involves me kind of going back and and

You know making a lot of notes and trying out

a lot of combinations I I try and you know figure

out how much music is in each episode How the

episodes are gonna play together on a disc, you

know how to which episodes you're gonna pick

for this set how to arrange them so that it's

a satisfying, you know, listening experience

for people who just want to pop in their CD and

hit play. So there's a lot of kind of logistical

figuring things out. And then my co -producer

Neil S. Bolt over in LA is tasked with kind of

actually obtaining the material, transferring

the tapes, getting everything ready to be mastered.

Then I have to sit down and we figure out how

the tracks are going to be sequenced, which cues

are you going to combine, how are you going to

combine them. So again, more logistical stuff.

You have to make sure that everything you want

on the disk is going to fit on the disk, where

you're going to put the bonus tracks. And actually

getting the materials, sometimes the composers

have DATs handy. Some things we get from the

studio. Once in a while, we have to hunt for

things that aren't immediately apparent. But

once we have everything, once we figure out exactly

how it's going to go, then it goes off to get

mastered. I've got to write the notes. Or someone,

if it was a release I was not writing for, I

would have to write the notes. You get it to

the art director on Superman. We had Jim Titus,

Batman, the animated series, Volume 3, Dan Goldwasser.

And there's a long process of choosing the images.

And you've got to review the text. You've got

to make sure that it's as error -free as you

can reasonably make it. I'll correct whatever

typos you catch. And then everything needs to

get submitted to the studio for their approval.

So it's a pretty involved process, but everyone

involved over there is old pros at it by this

time. Oh, yeah. Absolutely. What is one episode

that has yet to be Release that you are hoping

for at this point Well at this the the number

one thing because this goes back to that like

I said that original conversation with Shirley

Walker and You know, she she she She and I were

talking about, you know what what some of my

favorite things were? That she'd worked on that

she'd been able to do There was Superman legacy

like I said, and then I came up with I think

with you know I I sent little little fan letters

mini fan letters of praise for like my top five

episodes From Batman the animated series and

the spin -offs there and four of those have already

been released The the last one that hasn't been

released yet because it's part of the adventures

of Batman and Robin block is a harlequin aid

Harlequin aid was probably is way up there in

my all -time favorite series scores So of the

ones that have yet to be released I would say

that's that stops on my list What As far as other

projects you have going on what else are you

working on at this point in time Oh, I couldn't

say. Oh, come on. I really can't. If you're talking

to a label head, they can come out and say, oh,

yeah, we're working on this. We're working on

that. I'm a little bit further down on the totem

pole. So it's not for me to give anything away.

I can tell you that. We are working on more DC

animated stuff. There's more great stuff coming

down the pipeline. I'm trying to think. I did

the notes for the last Starfighter for Entrada.

That's not a secret. That's coming out very soon,

just as soon as I think the studio artwork approvals

come through. So there's that. I'm trying to

think if there's anything else I can talk about.

There's not a lot, I'm sorry. All right. You

said you grew up wanting to be a writer and you

are also a writer. Looking at your website here,

you've written some otherworldly type stories.

Yeah, I've done a little speculative fiction,

mostly playing in other people's sandboxes like

some of the Star Trek Strange New Worlds anthologies

from Pocket Books. I've got a story in a Professor

Challenger anthology coming out next year. So

yeah, I've dabbled in fiction. And also a little

bit of nonfiction outside the film music world.

I did a historical article for a local Michigan

magazine a while back But most of what I write

these days, you know, most of the energy goes

into a liner notes Mm -hmm. Yeah, it's so nice

You know a lot of land specifically because those

are the people that I deal with I mean I bought

the transformers the movie Score from Vince Ticola

from Intrada. I got that from them, but like

La La Land Records They are in my personal opinion

the premier soundtrack and score company at this

point and they're still Still putting discs out,

you know in an age where you'd think oh, well,

it'd be much easier to just let people You know

have a digital version of it. Well, you know,

yeah, it's not exactly the same feeling No, no,

and I I think that well, I think the great thing

about working, you know, because I do a lot of

work for entrata I I do a lot of work for long

island. It is very interesting because you know

the labels have different focuses and different

You know areas where they concentrate their energy

they have different styles, but I think I think

I personally could not say, oh, well, this one's

the best, that one's the best. Just because,

again, they're so kind of different in their

philosophy. And there's some overlap, obviously.

But you've got La La Land doing the DC animated

stuff. In in Trada put out those wonderful, you

know Battlestar Galactica and Buck Rogers sets

which which was my great pleasure to work on

those So we're just we're very fortunate I think

that that the market is the way it is and that

we're getting you know More stuff now than we've

ever gotten in the past. There's so many holy

grails so many dream projects gosh Entrata just

put out you know young Sherlock Holmes finally

made it to the finish line this year right right

and you know how long have we been wanting that

so yeah absolutely well all right what other

trying like what other soundtracks whether they

be television or or film or what other ones would

you expect to I'm trying to think of how to word

this without asking obviously the question I

already asked. It's probably dangerous even for

me to speculate because people may read my speculations

into coy hints at something that's yet to come.

I'll ask the question this way. This is much

easier. What project, whether it be animation,

television, film, video game, whatever, what

soundtrack project that has never had a soundtrack

release would you want the most in the future?

Of any kind. Any kind, anything. That has never

been released, oh goodness gracious. That's a

tough one. I Don't know I don't know um gosh,

it's it's it's Because so many of course so many

of the great ones have been released in some

shape or form in some way It's I Mean, I don't

know there there's I Can think of some recent

things that that haven't come out yet that I

would like to see I would like to see there's

a British mystery show called Father Brown that

has some very good music and that's I believe

by Debbie Wiseman? Yeah, Debbie Wiseman. She's

done some great work on that show. I'll look

forward to Bear McCreary's Agents of Shield,

when and if that happens. Yeah, that's a tough

one. That's one I wasn't expecting. Yeah, I can

tell you that Probably my dream soundtrack project

and I don't know how likely this is to happen

I would love someday for someone to do a really

definitive re -recording of Miklos Roja's music

for the jungle book the 19 I think 1942 version.

I think it's 42. It's 1940s anyway The original

tracks that were rescued by the film music society

are very degraded and incomplete and very archival

in nature, not really for listening pleasure.

And there's an excellent concert suite, but the

concert suite too is very incomplete compared

to the film score. There are dimensions of that

score. And that's the score that really got me

into film music, thinking about film music. And

there are certainly enough Rosia recordings going

around. I suppose it's possible that it could

happen someday, but really that's kind of a dream

project at the moment. And Lawrence Rosenthal

too. There's still a lot of his works that need

to be released. Some really good stuff. Shirley

Walker, of course. Sure, so they're her final

their final destination scores and then there's

a score. She did for Disney the love bug TV movie

very obscure I'm sure not many people have heard

of but it's a fantastic score She wrote one of

the best bad guy themes in her entire career

for an evil car, you know an evil version of

Herbie so Yeah, so those are some of the things

I would I would like to see happen that I don't

know if they will You were asking what it was

like. Well, yeah, what was it? I mean, I mean

you were you know You're like me you grew up

watching these shows. Yeah, and you grew I'm

sure I knew her name at some point or you know

You see the names in the credits. You might not

know who exactly it is, but you know what I mean?

So what was it like? Just sitting down and talking

with her. Oh It was fantastic. I mean the thing

is Again, I had been an admirer of her for such

a long time at the time. I interviewed her in

2006. I had not done Lot of I hadn't really done

a high what I call high profile interviews And

the whole experience of interviewing someone

was was still pretty new and intimidating to

me And so I kind of put it off for a long time

Partly because it you know there she wasn't Doing

any big stuff with the superhero Stuff for a

while after after Superman and Batman Beyond

And so, you know, I was kind of wanted to have

a good good hook. And ultimately, I decided,

well, let's just do it. My friend, Doug Adams,

who is is also he's the author of the music of

Lord of the Rings films. He's an associate of

Howard Shore. He had interviewed Shirley a few

years back. And he said, Well, you know, you

really ought to do it. You know, he kind of prodded

me into it. And said yeah, there's there's no

reason to wait any longer. It'll be fine. She's

you know, she's great great to talk to you So

we set it up and she was more than happy to speak

to me and she was just an extraordinarily kind

and funny and generous you know, she put me right

at my ease and It meant a lot, you know because

I had always loved to work I had always felt

and still do the you know that she did not has

not gotten enough credit For for what an extraordinary

person she was and an extraordinary composer

She was just at one of the all -time greats And

it meant an awful lot it was I was on cloud nine

at the end of the interview, you know We'd we

emailed a few times in the subsequent weeks.

I was hoping to interview her again. Maybe after

black Christmas came out But of course a few

weeks later she she very tragically passed away

And so I was I was devastated. So, you know,

looking back on the whole experience, I think

on the one hand, my God, how sad it was, how

tragic it was. You know, she was so loved and

admired and she was taken from us far too soon.

But I also feel just extraordinarily fortunate

to have been able to make that connection And

again, you know, thank thank goodness that that

that prompted me to do it when I did because

you know You don't think about that sort of thing

But I would not you know at that point the after

that the opportunity would have been gone if

we'd waited any longer And for the record, I

do remember the love bug. I do remember the love

bug. I don't remember the 1997 Bruce Campbell.

Yeah, mister mister briscoe county junior himself

three years after briscoe county ended. This

is what he ended up with The film is is not well

loved or well remembered But my goodness doesn't

have a fantastic score by it by shirley walker

So and it was right then in 96. Yeah at the peak

of her batman and you know superman powers there,

so Yeah. I'm pretty sure Herbie Fully Loaded

is more hated than The Love Bug. Well, I mean,

no one remembers the TV remake. I don't think

enough people know it to hate it. I don't get

me wrong. I don't think it's a bad film. I think

it's an inoffensive, entertaining TV movie. But

I'm not even sure it's ever even been out on

home video. There might have been a VHS release.

Anyway, yeah, I mean that's that's that's that's

the the joy and the frustration of this hobby

is Discovering all these obscure gems and then

the frustration of course is then not having

soundtracks of them. So Well with La Land and

other companies like Intrada, you know, these

companies are putting out amazing Yeah, quartet,

you know out in Spain is doing some great stuff.

Yeah, I mean amazing stuff. I mean just The,

like, every week that La La Land sends me a newsletter,

you know, an email newsletter, it's like, ooh,

I need to contact, ooh, I need to contact Matt.

It's like every single week, it's like, I want

this, this, this, and this, and this, because

I've been reviewing for them for over, this Christmas

it'll be a year. I think, well, it'll be a little

bit more than that. But the biggest thing I reviewed

from them, I never thought they'd send me one.

Lethal Weapon. Lethal Weapon. And people can

listen to me and Neil S. Bogg talk all kinds

of Riggs and Murtaugh over on Neil's. Oh, man.

Michael Kamen. Talk about another great composer,

great musician. Oh, absolutely. You know, Michael

Kamen had... He He had a sensibility that that

just was was unlike any anyone else I think probably

my favorite came in score is is Brazil Which

again, it's just one of those one of my favorite

films and and one of my favorite musical accompaniments,

you know, it's almost more than a score. It's

got all the songs weaving in and all that and

and Yeah, he's another another incredibly talented

individual who who left us too soon Yeah, I had

no idea at the time like when I was doing research

for for Neil's interview No idea. He also did

the die -hard movies. I knew he did leave a weapon

But I had no clue that he did the Die Hard movie

as well. Well, he was very chameleon. You know,

he could do... Because they don't sound anything

alike. That's the thing. They're both absolutely

their own thing. Absolutely. Absolutely. All

right. Well, thank you so much, Mr. Tekus. That

has been the GCRN latest interview, I should

say. Episode 75 of Geek Key... I can't talk.

Episode 75 of GeekCast Radio, our podcast here

at Flagship Show, will actually be our year in

review episode coming up on New Year's Eve this

year. In between that, I'm hoping to get some

more interviews with other people and put them

on the feed. But yeah, we at GCR have a lot to

celebrate since this is our five year anniversary

this year. June 1st, 2009. Oh boy, long time.

Thank you again, John. Unleash the geek in you

and we will catch you next time. Thank you very

much. Still try to fight. Can't you see that

it's hopeless? That man won't quit as long as

he can still draw breath. None of my teammates

will. Me? I've got a different problem. I feel

like I live in a world made of cardboard, always

taking constant care not to break something,

but to break someone. Never allowing myself to

lose control, even for a moment, or someone could

die. But you can take it, can't you, big man?

What we have here is a rare opportunity for me

to cut loose and show you just how powerful I

really am. Just listen to Geekcast Radio on the

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