Hi and welcome to the Team Deacons podcast. This podcast is a dialogue between

Roger and James Deacons, joined by Matt Weiman,

starting from a submitted question, and ending, who knows where.

We're also joined by guests on occasion. We're connecting

through Zoom so bear that in mind when you hear the audio. If you'd like to

submit a question, please do so by emailing pod p-o at Roger deacons.com.

Today we're looking at the role of set still photographer.

We're very lucky to have someone with us today that we've had the pleasure of working with many times.

He's worked on many movies, a few being little women, marriage story, baby driver, prisoners,

men in black three, true grit, and a serious man. We're happy to welcome Wilson Webb with us today.

Hello. So, Wilson. Yes. Thank you for being here.

My pleasure.

Thanks for having me.

So can you tell us just to start with how you ended up doing what you do?

Yes, I'll try to make it as short as possible.

My father was an amateur photographer and so I always had cameras around and I was always interested in them as a child.

And in high school I took a Votec class that was about video production and that led me to a job at a theatrical store in this is Clarenton, Virginia. And there I met a filmmaker who was trying

to cash in on the low-budget horror trend at the time.

And so he came in and asked about gore makeup and it had just so

happened that I had been studying it. And so I started working with this man, Jeff Smith, and we made a trailer for a really bad low-budget horror film.

But one of the other people that he had found in the community

was a wealthy individual who collected horror props from real movies. So we had real props and we had a lot of gore and a lot of fake blood, you know average script and we made a trailer.

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