The Hey everyone welcome back to another remab interview we spent the last few months talking a lot about giant

monsters and specifically Godzilla and our discussion about Godzilla minus one, our discussion

about Shin Godzilla. Back at Waypoint, we had a great conversation years ago about 2014's

Godzilla, which is one of my all-time favorite blockbusters and

interpretations of Godzilla I think has just an incredible sense of scale.

So today we're excited to be joined both by my

colleague Rob Zachney. Hello Rob. Hello hello. And Sean Conrad who was a

visual effects supervisor on the most recent Apple TV plus show Monarch legacy of monsters,

which ties into the monster verse that was established in that 2014 film by Gareth Edwards,

and has worked in visual effects on many many things go ahead and

look up Sean's IMDb but for the purposes of sort of this show and this

conversation and our conversations about Godzilla that includes the monarch show, the 2014 Godzilla and 2019's

Godzilla King of the Monsters.

Sean, we are so excited to be able to talk to someone

that actually knows something about

Godzilla instead of us yammering into microphones pretending to do so.

I'm thrilled to be here. Thank you so much guys. I do what leads you to Godzilla so like now you're a visual

effect supervisor like more of a managerial role but in 2014's

Godzilla my understanding was like,

you're an artist, you're in the Godzilla mines, like you're there like tweaking

heat ray, like spines, like what brings you to working on that original Gareth Edwards film?

It's an interesting like, you know, I, Godzilla as a property, as a license, you know, it wasn't really one of those

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