# [[MFP20 - “A Gift to the Zelda Community” with Javed Sterritt]] Transcript This transcription was completed on March 4, 2026 with the application MacWhisper on macOS. This was done automatically, without human input during the transcription process. The transcription used the Parakeet v3 model. My hope is that by offering this transcription – however accurate it may be done by a machine learning/AI – will help you, the listener. I’d love to offer full, proper transcription some day, but that is not feasible at this time. Thank you for listening and reading. I hope you enjoy the show and that this document was helpful. Enjoy. --- Hello everybody and welcome to the Max Frequency Podcast. *00:00* And luckily enough, there were a few YouTube channels that archived a lot of these shows that I just ripped and *00:00* But then I I reached out to him again and then a year later we did a second interview, which is why if when you watch the Docker, he's some of his interview shots are clean shaven and the other interview shots he's got are goatee. *00:00* And I think that's that's cool. *00:00* I I'm c I'm trying to create this visual thing with absolutely no B roll. *00:00* you know, Helvetica or whatever. *00:00* So that was step one and then and scouring the internet, kind of going on way back machines, seeing if there's any kind of footage or or images I could collect and *00:00* uh because they interpret it interpreted the game in one way. *00:00* Four years ago to the day when you put up line by line. *00:00* Hey Maxim, good. *00:00* Well how does that feel for you to be working on this for so long? *00:00* I someone pointed out to me that I posted this new Zelda video four years to the date almost exactly. *00:00* You know, that that game means so much to me and so I really wanted to honor it uh in this really nice way. *00:00* Uh and yeah, and the reception was incredible. *00:00* If if ever I feel like I'm following a formula on something, I I lose complete interest. *00:00* So it's nice now to have this new documentary about Majora's mask out now. *00:00* So that that was nice to kind of go back to my roots a little bit for that. *00:00* Th episode one with this thirty minute documentary is not a great um it's a good starting point. *00:00* We have little five minute episodes, we've got ten minute episodes, little journalism um explorations, little fun, kind of like uh *00:00* My favorite was the um what you dubbed ghostly illusion, the Wind Waker mask. *00:00* I I want this uh new new Zelda channel to be a bit of a gift to the Zelda community. *00:00* and all that stuff. *00:00* uh it's these translation errors and you felt the need to correct them. *00:00* uh if you're playing the numbers game. *00:00* But from from the beginning it YouTube's always been a platform for experimentation. *00:00* Um so that that's all like straight copy and paste from the Majora's script, so that's accurate. *00:00* I I feel like I had some good intentions, but it was just the wrong call. *00:00* And so I I I did my due dilig do d what's it how do you say do do oh my god. *00:00* an operating system and and the laptop. *00:00* It was kind of flattering because I I think people thought that it was real. *00:00* But yeah, so so so for that uh laptop shot, um yeah, so I created the shadows and tried to recreate the lighting um to make it look kind of realistic, at a bit of a grade over the top. *00:00* You know, it's crazy that he's running a Windows from a like a PowerBook em emulating Windows. *00:00* It was actually um it's it's an interesting process. *00:00* I'd wanted to triple check myself to make sure I wasn't talking out of my own just out of nowhere. *00:00* I was fairly confident it wasn't, but I did want to I I checked myself too. *00:00* uh is called Wild Speed Super Combo. *00:00* an editor you do all is it all after effects is what you're using? *00:00* I'm making this film for YouTube. *00:00* Plasma's, I don't think we're really around, or you know, or like and that kind of technology. *00:00* Like matching the shutter speed with what's coming out. *00:00* it it's authentic to that time period even though it's being recreated digitally. *00:00* These are just behind the scenes footage where you could get it. *00:00* Well one of my great loves I've discovered is the research process. *00:00* uh of these hosts talking about Ocarina or Majora's Mask or anything like that. *00:00* I think what audiences really attach themselves to are are the these emotional highs and lows. *00:00* and succeed through these time pressures. *00:00* That is exactly what I wrote down was the translation journey is Majora's mask. *00:00* Like writing this script for the biggest sequel Nintendo's done at this point for Zelda, and he has to do it in six months, which sounds incredibly daunting. *00:00* Wait, I don't think Javid said anything in the video. *00:00* I don't know if I'm right or not, but it to my a lot of there's a lot of widescreen shots of these games. *00:00* There's just a lot of kind of dead space happening. *00:00* Uh you know, like we said before, I think you you accurately represent them. *00:00* So this this famous quote if if you search Shigeru Miyamoto quotes, that's usually the top one. *00:00* It's like, hey everyone, like does anyone know where this quote came from? *00:00* Um so I I the journey actually wasn't complete. *00:00* had never said it right. *00:00* Which is super fun. *00:00* Yeah. *00:00* It's presented in this fun entertainment rapper of eat spicy food, but Yeah. *00:00* And you've basically you've been working on other things, obviously you have it's more than just this, but for f you know, four years you've been working and researching *00:00* Uh yeah, so so I I worked on um Ocarina of Time, a masterclass in subtext, for about two years and that was kind of a *00:00* bit of a metamorphosis uh kind of era for me um as I tried to refine *00:00* But I think it it was all this kind of experimental process of trying to find my voice. *00:00* You know, a lot of people felt these things but couldn't put them into words. *00:00* of sadness and and sorrow that kind of exists in in that s um story. *00:00* just stylistically in in the structure of the video. *00:00* I worked as an editor and a and a director in in like the film space, just doing documentaries. *00:00* very like um observational kind of stuff. *00:00* played in bands and I had this like little handy cam, you know, like a little Sony handicam back in like two thousand seven just doing tour videos, you know, of of us travelling around. *00:00* That's kind of uh off the back of what I was just saying before about the wrestling with that Majora's Mask essay uh was that I just got so burnt out and and bummed out *00:00* Is it are these videos related to the little short clips you've been tweeting out kind of since November on the Hyrule Journals account? *00:00* that you're gonna be exploring in these videos? *00:00* uh with all these little tidbits, this little gift, really unique stories that I haven't really seen anyone talk about. *00:00* I I've been lucky enough to grow my good blood channel to a point where my contacts like I I I've it's easier for me to get contacts because I have a you know, I I *00:00* And it's, you know, it's a reset on the numbers. *00:00* to fix some translation issues. *00:00* I never really follow a formula, right? *00:00* be releasing a video every month and I'd try to like have more engagement and and grow and and just kind of play the algorithm game. *00:00* little plus on the side. *00:00* That's like beautiful. *00:00* Um and so w in recreating this Excel file to show visually, I just used some machine translation. *00:00* um to create that second column of Bill Trinan's work. *00:00* And and I felt okay with that because it's like w well we're not really exploring Bill Trinan's work. *00:00* thinks that's actually Bill Trinan's work. *00:00* It was a it was a tough call to make as the DoCo started getting momentum. *00:00* went through each each line and gave me like a more more legit kind of human translation of the the Japanese stuff. *00:00* Did you do you changed it in the second one? *00:00* Jason at Nintendo Power in the building working on this game or there's there's no footage anywhere. *00:00* But I I did think the table and the computer were real and I now I'm assuming the CRT TVs that you push in like you've m you made it all, didn't you? *00:00* Excel ninety eight for on the Mac and I couldn't find them. *00:00* five years later or something. *00:00* Yeah, 'cause I try to work out how can I get a Excel from ninety eight and and play around with it. *00:00* just an old s like just image on Google Images of this Excel file. *00:00* And we just did the Fast and the Furious movies. *00:00* Well that's the thing too and it's you know, I don't I don't speak Japanese or or can read it, you know. *00:00* said in this way, but it's said with a bit of aggression. *00:00* Especially in a documentary about translation, you know. *00:00* um like vertically the the red, blue, green kind of process of of CRTs and recreating that in After Effects and then pushing a lot of my B roll through that CRT effect. *00:00* That doesn't make sense. *00:00* I had bring it into After Effects, push it through the CRT effect, re-export it, bring it back to Premiere, and hopefully it works. *00:00* But I I think uh well at least for me it it's it's always good to have multiple voices speaking into the story so you get a more rounded off um kind of picture of *00:00* of what that of what's happening. *00:00* When it comes to the organization, it's just about me downloading it, chucking it in my my footage folder, and that's it. *00:00* John Ricciarty, he still has his actually his review is in your in your video. *00:00* I love the hunt. *00:00* He got his game from work, but he still bought it as a consumer and he just never opened it. *00:00* That'd be sick, yeah. *00:00* the story and the translation of Majora's mass. *00:00* at just at the start of COVID. *00:00* a question or kind of set up a situation and then get Jason's dialogue as like the answer. *00:00* uh which is why the docker really explores that that pressure element of audience expectations of of the sequel. *00:00* And and the stuff that he had to go through. *00:00* It's just so beautifully it all layers wonderfully 'cause w when he talks about going to Japan and working directly with the team, I I don't remember the script writer for Majora's Mask's name, but he had recently been married, like you say in the documentary. *00:00* And the whole team was away from their families. *00:00* It's all Laring and then the obvious just Link has to save the world in three days. *00:00* Which then comes out to the player in the human element and it's a legacy that's stuck with the game forever. *00:00* One thing that popped into my head was was another concern that I had was with as someone who loves Majora's mask, I s I think *00:00* Um and also the healing elements and there's some other religious stuff going on, but it's so it's such a uh cryptic game. *00:00* W one thing I was nervous about was bringing clarity to that. *00:00* I I I don't want to refine or kind of bottleneck everyone into just this new one way of thinking. *00:00* uh just what what was that process like as a challenge f for you? *00:00* I I've done that so much before, you know, like it with my documentary background. *00:00* trying to tell someone else's story honorably, you know? *00:00* um the connections that someone makes. *00:00* Then you can really take them on a journey and they connect with things more. *00:00* Uh, I kind of recount a lot of that storytelling, but then it's also the story about change and growth and moving on from past decisions and stuff. *00:00* Yeah, I I that was like a triumph for me, I think. *00:00* Yes, I'm sorry that was kind of a long answer, but hopefully there's an answer in there somewhere. *00:00* to create their story about change and things like that. *00:00* At least I don't think it's the original N sixty four cart, so how are you playing and capturing all the Zelda footage that I assume is sitting on hard drives somewhere? *00:00* Yeah, it's definitely on hard drives. *00:00* that you can you can emulate. *00:00* And as as they were intended. *00:00* And so I think what what I found what ended up being important was to have just a nice variation of visuals that we're looking at. *00:00* Um it just feels kind of the scope of that feels bigger and it's b uh slightly more cinematic. *00:00* You're not afraid to just let things be four by three in the center, not stretch it out necessarily or throw things around. *00:00* the way it is. *00:00* to feel like yeah, we're definitely looking back into into the nineties. *00:00* going into almost poltergeist like going into the TV. *00:00* You know, I remember it, but I think a lot of people today probably aren't familiar with these weird four by three tube TVs. *00:00* I think you succeeded. *00:00* Then just do that. *00:00* I think it was last year. *00:00* I don't even remember what it is. *00:00* And we tried to uh s also and I I didn't personally, but the uh the girl who had come forward had tried to track him down but found that he had since transitioned. *00:00* I d I I graduated in journalism and so that the v f having the original source is essential. *00:00* It it it ended up getting quite a lot of traction and got featured on a lot of um publications. *00:00* Yeah, very funny. *00:00* Uh just share with the people what you've got. *00:00* Defaults to hot ones, I'm like, I can't say what Sean says, but yes. *00:00* I would be trying to talk to Sean and that team. *00:00* Oh my god, it's the it's the greatest. *00:00* Like I would I just would eat a normal chicken wing in general. *00:00* to to to make to make it known that they're heard. *00:00* dips the sauce in, makes it like or make they make a concoction at the end and they do that together. *00:00* youtube. *00:00* Great stuff. *00:00* Zelda, you did gotta war there for a hot second. *00:00* went down to level zero like it was so it's been this real kind of internal battle for me to to uh get get the follow-up video done. *00:00* But yesterday you you announced that that wasn't it. *00:00* You've made ten episodes or you're making ten episodes of a season that you're just going to be dropping along throughout the year. *00:00* I was trying to just follow the same formula that I'd done before, um, c just because that's what everyone seemed to resonate with. *00:00* What would I actually just love doing? *00:00* of hunting for a message in in a story and and crafting, you know, a video around this that one kind of message, that human truth. *00:00* over the last four years of just Zelda stuff and like cool. *00:00* unboxings and and stuff like that. *00:00* There's, you know, all these observations you have, whether it's the the camera pulling, you know, resume, you know, pushing in on on Link and Ocarina of Time, but it's it's faster in Majora's Mask or *00:00* enormous, you know. *00:00* To grow a channel. *00:00* was the scene where Jason talks about the laptop that Nintendo gave him to work through all the text on like an Excel document. *00:00* So uh obviously I I don't have access to that original Excel file back from ninety nine, right? *00:00* Okay. *00:00* Um I get it now. *00:00* But I hearing the th the thoughts from the community about, you know, representing Bill's work or um and the fact it is about translation and localization. *00:00* And so I I kind of the what was the the Macintosh Powerbook G three, I think it was. *00:00* Like B-roll you license. *00:00* Maybe cutting edge, you know, like a newer kind of laptop. *00:00* running windows on the screen. *00:00* Yeah, so the um the the CRTs, the actual TV shots, those are real stock like images. *00:00* Like I I I d I don't want the conversations around this docker to be on like this laptop scene. *00:00* that you know that it was supposed to be a Macintosh version. *00:00* One of these weird challenges for such a th th the laptop's on screen for less than 30 seconds, you know, all up. *00:00* In this theme of you know you recreating things and and editing, I'm I want to jump down to my my editing stuff. *00:00* Um but but even through working with her name's Katrina, my my friend who's helping with the translation stuff. *00:00* uh what will happen is I'll send her like a like a sentence of Japanese that I don't understand and she'll break it down for me and say like okay this is actually like *00:00* like a 3D software, but I find that I can just get what I what I need out of After Effects. *00:00* But in Sydney there it there just seems to be nothing. *00:00* in um after effects. *00:00* And then I could kind of and dude, some of the comments were like they think it's real. *00:00* That's gonna be a powerful tool. *00:00* um kind of physicality. *00:00* Oh. *00:00* Um I s yeah, for him it was like multiple emails. *00:00* video games. *00:00* research okay what kind of shows were happening in like the in the States and like Japan and the UK around that time *00:00* And then just yeah, going from there. *00:00* uh puzzle uh whatever pieces together or something. *00:00* But I just found that it didn't it just didn't interest me. *00:00* uh hunting for the human truth of a story. *00:00* in different ways depending on who you are as a person. *00:00* think that I have that kind of power to do that. *00:00* I'm I'm more curio well not more curious. *00:00* Your previous videos are all you narrating on some level and then presenting with the edits and and things like that. *00:00* And and I think too like learning st starting YouTube and and writing my own essays and then voicing them, that that was the challenge. *00:00* Uh as in like you you might understand what what the feeling is like, but trying to direct yourself when I'm doing like a voiceover is uh like is the worst thing. *00:00* I I I enjoyed cutting this type of documentary a lot more, um, only because it's not myself. *00:00* I guess I just because of what I haven't seen the other documentaries you've worked on outside of what's, you know, YouTube or whatnot. *00:00* Yeah, yeah totally. *00:00* process, but it's so active where the audiences are putting themselves in the story and how how can you craft and bring like like I was saying before about the human truth, you know, like how how do we *00:00* the challenge is then like uh it's informational uh rather than like someone just telling a story, you know, uh around a campfire or something. *00:00* Um, which was kinda like I feel like I I I nailed something with my God of War video. *00:00* of that alone simply because Norse mythology isn't as popular as Greek mythology or as even as well documented, which is what one of the things you point out in your God of War video. *00:00* So most people's perceptions of Thor and Odin and Loki would be the Marvel Cinematic Universe or something. *00:00* the prosetta and the um poetic edda. *00:00* Um with like a i it's no new textures, it's just all the same, like I I haven't put on any upscaling stuff. *00:00* specifically by having this widescreen stuff. *00:00* And and I think for the for the for the broadcast stuff being four by three, that's definitely a more powerful uh mode of transportation back to that era than s than the um *00:00* I had the I had a question about where you draw the line between authent authenticity and style. *00:00* She has no idea. *00:00* She's kind of the the one I'm creating stuff for. *00:00* But we we create stuff for people who already we assume already know a lot about the subject we're about to talk about. *00:00* What I tried to do was was explain everything that's happening around that time as f as far as like what what was happening in the nineties with *00:00* challenges, changes, pressure and a journey through it. *00:00* Um and you seem to have you found it. *00:00* tr like scouring through magazines um and forums and websites, I could not find you know, i everyone quotes it without citing the source. *00:00* uh don't cite the source that aren't the original. *00:00* I I do I I um I only discovered him a few months a like the the show a few months ago. *00:00* If anyone would like to follow me, you can find my writing over at maxfrequency. *00:00* the way that I communicate. *00:00* Um but honestly it's just like w I just want to have fun for a little bit. *00:00* But uh and so I like uh hopefully I can use that to to contact people and interview people and and chat to you know people no one's really talked to before and find out different stories and *00:00* And with that feedback, I can grow as a storyteller and a filmmaker. *00:00* Uh it was that was a tough one because th the scene where there was uh incorrect translations *00:00* kind of consistency in mind as he translated. *00:00* uh going to my friend who is helping me with a lot of translation stuff from Japanese to English and she just kind of uh *00:00* I thought it was real. *00:00* Compared to someone who makes a film for theaters and it gets printed and sent to thousands of cinemas across the world and that's it. *00:00* Again, since since I'm not about the numbers game, it felt important to have a a really like rounded off strong documentary. *00:00* Yeah. *00:00* And I couldn't find a high quality version of this logo anywhere. *00:00* is you know, 'cause the the whole idea, um, aesthetically is that this is a story from the nineties where CRT you know *00:00* that adds, I think, uh texture to the period is these old TV interview clips. *00:00* who was kind of a gr st a great storyteller in in his own way, um, and he he definitely provided all the story beats. *00:00* He would he would be of definitely a a well of knowledge. *00:00* um in in more of a documentary kind of way. *00:00* Um which is something so relatable, right? *00:00* A lot of the interest and intrigue is that the story can be uh interpreted *00:00* Sick. *00:00* the point that you're trying to get across as well. *00:00* Um and then yeah, that that that's pretty much it. *00:00* I have thought a lot about the authenticity of that because, you know, a lot of people from that time remember those games to be four by three, right? *00:00* Negative space can can be negative sometimes, but you you seem to have a balance of that and I I know it's an intentional decision. *00:00* the the trials and uh and and pushing through and then reflecting on it and yeah. *00:00* And that started to kind of get me cons interested into like, wait, do we even know where this came from? *00:00* Uh I I think it was like something from a magazine. *00:00* this uh this game developer from the nineties had uh told his wife this quote he'd he'd seen this quote on like a like a game developer's wall in one of the studios *00:00* Um and uh and he and she had some more to say about it, the um the one who had transitioned. *00:00* Is asked about that quote and he talks about it. *00:00* Y you think about how much easier it is to talk to talk to someone w like over like a plate of food. *00:00* Blazing. *00:00* marriage counseling or or you know I say counseling, it feels like such a Christian thing, but like uh like therapy, couples therapy is what I'm trying to say. *00:00* Little bits of journalism, storytelling. *00:00* video and then just seeing your stuff over the years, it's now with Line by Line, the Majoris Mass documentary, it's it's a real treat to talk to you and and pick your brain about all the stuff that you make. *00:00* much to my delight with with a lot of people, like it was um I think uh a lot of the comments that I got was that was from that video was that it uh *00:00* And uh and to to be completely honest, I I've been wrestling with that video for for three years. *00:00* to work through. *00:00* Yeah. *00:00* creating this documentary where my voice is not present in it at all. *00:00* online look a bit more impressive now than when I started. *00:00* And i in the story he talks about that there were three columns. *00:00* It wasn't until you did your little write-up on it and and I read through it that you pointed out that it was uh a Macintosh powerbook. *00:00* You can release these films, get some feedback, and then to make some changes. *00:00* bring the image into After Effects and and chop it up and and grab different pieces and try to recreate this this Excel uh this Majora's Mask Excel document to make it look realistic. *00:00* I'm I'm so nervous of of when I'm recreating something of getting it truly wrong, which is what happened in in the DOCO. *00:00* You know, those CRTs, the way you're moving the TVs and stuff, I I we touched on that. *00:00* uh because that adds a just a richness to to what you're looking at. *00:00* What was your research process like and how do you I'm assuming there's a lot of it. *00:00* Jason ended up being the only voice speaking into the story, which is a it's it's not the greatest crime in the world. *00:00* The the extra challenge on that was like growing up in Australia, we didn't have broadcasts that covered *00:00* And um cut out a few pieces, but dude, it was thousands of hours just spent watching these videos, trying to find anything I could that *00:00* I remember one story about Ocarina of Time, like the way Nintendo did a press event was they were like running around LA or something with people dressed up as wizards trying to find *00:00* But it's the fun part of it. *00:00* work out the natural way that the stories want to tell themselves. *00:00* Okay. *00:00* create something that holds audience attention. *00:00* just more levels to Majora's mask and the feelings that people love to this day and still talk about. *00:00* If that makes sense. *00:00* Rewatching it again today, just when you get to the the story about the Japanese team and what influenced them in their writing, I was like, it's just it's so good. *00:00* Get AI to do it for me. *00:00* find the perfect cross section between storytelling and something emotional and informational. *00:00* It's the I kind of see I'm kind of like speaking as I'm thinking about this, maybe for the first time. *00:00* like smooth. *00:00* You know, I was born in ninety-four, so I I actually you can't see it. *00:00* not just for Zelda fans but for anyone. *00:00* With game development and who Shigeru Miyamoto was and bringing CRTs because that was such an aesthetic thing back then. *00:00* You know, I I don't want to just create stuff for gamers. *00:00* That's the relatable stuff. *00:00* What what was that like? *00:00* Um yeah, that was th that started out as like I was researching something about Wind Waker and um *00:00* Interesting little hunt for this um this actual quote that never actually ended up kind of existing or we found out the Miyamoto *00:00* traces back to like the early 90s um where Miyamoto isn't even involved in that quote at all. *00:00* The guests saying, like, oh, that's a good question. *00:00* It is different than your your previous video, and it's not like untangling God of War either, which also I feel is closer to a masterclass and subtext. *00:00* series looking at Zelda stories um and the next one being Majora's Mask which is the the follow-up to Ocarina *00:00* uh by uh by the wrestle I was having having with that script that I decided to question like what what's something that's just gonna bring me joy? *00:00* Naturally brought up my next question, which was why launch a dedicated Hyrule Journals channel because you have good blood? *00:00* But but then uh as I launched the the Doco and and started getting comments, um there were a few comments coming through of like, oh like I I cringed when I saw the machine translation. *00:00* translation and it's about localization, it's it's important that I get that part right. *00:00* create a lot of what you see. *00:00* XL for Macintosh and loaded it into this emulator to check to make sure that I wasn't crazy. *00:00* It's it's funny 'cause I I I tr I try to film as much as I can in real life. *00:00* So it was it was heavy duty but but in the end it was like I think it added a lot to the story, you know. *00:00* Because I think there's a thrill when you find it. *00:00* We talked about your struggle with following the formula with the the subtext thing and you wanted to find a new story and you did. *00:00* It takes me some time to I was gonna say find myself, that's not quite right, but but kind of *00:00* present a story where audiences feel comfortable to put themselves in it or to relate to it. *00:00* I wanted to ask you about how you go about capturing and playing these games as well. *00:00* So so I think yeah she's she's definitely my my guide when it comes to my decision making. *00:00* speak to that rather than what the game's about it. *00:00* And and obviously w when you're researching something, you kind of want to make sure you cover all your bases. *00:00* Thanks very much. *00:00* kind of instinctly just developing this more of a long form um cinematic approach to to that video and it it resonated *00:00* keep delivering great videos like that. *00:00* Yeah. *00:00* I in in this doco, this story, yeah, like I said, like i it it's a twenty-four year old story, and there's *00:00* Um my my skill set is is mostly after effects when it comes to any kind of animation work. *00:00* Uh kind of alumni almost now. *00:00* But what I found was I needed something else to to speak into the story in the time period. *00:00* Very very large, very fast. *00:00* Kind of kind of like what you're saying with the the subclass uh subtext where you were expressing what people were feeling, you were verbalizing that. *00:00* Uh I'd hate to take away any interpretation that someone had or any connection. *00:00* reshape the view of it. *00:00* the the video game stuff. *00:00* You have to be able to trace your steps. *00:00* And and and researched okay what kind of laptops were around back then. *00:00* I I appreciate it. *00:00* Yeah. *00:00* just how much work there was gonna be on on the B roll and trying to emotionally *00:00* That means a lot. *00:00* I I'm more comfortable editing a story where I don't speak at all. *00:00* And uh and also removes any kind of imposter syndrome, you know, a creator goes through when they're developing something. *00:00* That audiences I I I think it's like a jigsaw. *00:00* He's building a connection to then present their story. *00:00* Uh but to answer your question, uh my my new YouTube channel dedicated to Zelda content. *00:00* contrast to the past, the present, and what's going on here. *00:00* I'm looking forward to more content throughout the year, more little Zelda fun facts and deep dives. *00:00* How do you activate audiences? *00:00* com slash the highworld journals um a ten episode season of zelda content tidbits *00:00* Uh but but but originally the the way I was gonna execute that was just kind of a straight me ask *00:01* And then it it gets easier and easier as it goes as the food gets hotter and hotter. *00:01* So uh yeah, definitely kind of tidbitty, uh unique stories, little investigations, stuff like that. *00:01* I that makes more sense to me now because at the time I I assumed it was probably in the Excel spreadsheet just because there's so much text there. *00:01* Yeah. *00:01* Yeah. *00:01* Yeah, so with with the documentary, I'll I'll speak to that first. *00:01* Yeah, I love it. *00:01* How are you? *00:01* I kind of wish I I wish he didn't ask me the question about organization because there is no really That's fine. *00:01* That's good. *00:01* Oh, well I'm super looking forward to that too, 'cause that when I saw that those tweets last year I was like, Holy smokes, it it's one of the things you never even doubt. *00:01* It's good to be here. *00:01* It was like maybe like a l a kids cartoon show would do a like a really quick review on something or maybe they'd slip it in. *00:01* It's the best part. *00:01* If I could get my wife to sit down and watch it, I think she would like it too. *00:01* Yeah, that's always a tricky thing. *00:01* Um so yeah, so that that was cool and then you know in After Effects kind of I brought a cam uh digital camera in, twisted it, added some depth of field, just to kind of give it a sense of *00:01* Yeah. *00:01* I think I think I'm learning a lot about my creative process um through doing YouTube. *00:01* Um, but I I did on the on the broadcast stuff I did end up end up putting like a CRT effect on that and a bit of like a like a frame. *00:01* Yeah. *00:01* I I don't seek to to make money off this, right? *00:01* Like it's it's definitely helpful as far as everything that I make now has like a further reach. *00:01* That actually that makes a lot more sense to me. *00:01* And so she's kind of my my uh is it maybe the words cornerstone or like she's my *00:01* I feel like uh for for me as a person and and as as a creative, I get excited by new things. *00:01* I thought like I thought the like the footage of the object was real. *00:01* Exactly. *00:01* Uh uh or maybe he had or maybe he kind of heard it from somewhere else, but the actual like very beginning of that *00:01* Um I'm very grateful, like don't get me wrong, like it's incredible that so many people have connected to what I'm making. *00:01* Well I'm sorry for her pointing out the mismatch. *00:01* But but I g uh visually it's like e everything you see is some kind of portal to to a world. *00:01* That there's something to a conversation around you're doing something together. *00:01* Um so so that that's the that part of it and then yeah the next part where uh I had to take down the the line by line doco *00:01* So it was nice to just kind of take it down, go through, refine some things, make make it stronger and then re-upload. *00:01* Yeah, it's uh that's not an indication of the rest of the season. *00:01* I've got like $10 in my pocket. *00:01* No, it does. *00:01* So it uh you can force it to go sixteen by nine because the originals are four by three. *00:01* I I'm I'm trying to think back on my decision making a around that stuff. *00:01* And so I like documented that process. *00:01* You know, like Majora's mask is not the relatable element. *00:01* Like j just stuff I just want to do for fun. *00:02* You made that. *00:02* That was so funny. *00:02* Thanks for the lead. *00:02* What's the quote? *00:02* Ugh, I am well. *00:02* And so I did think a lot about uh am I am I doing it disservice to the story, especially for line by line? *00:02* And the the structure, he always generally leads with the more in-depth questions when their palette isn't just *00:02* And so I I reached out to a lot of people. *00:02* I gotcha. *00:02* You put out a bounty, $100 bounty, to find the source of the Miyamoto delayed game great quote. *00:02* Well, Javid, thank you so much for your time. *00:02* And so I I studied kind of CRTs for a little bit and looking at how the colors kind of work. *00:02* So um we've kind of talked about it throughout a little bit, but I n I noticed that you take a a verbal backseat and you've talked about it because you don't you don't say anything. *00:02* How did how did that feel? *00:02* Like and and my videos are like years apart. *00:02* I've uh I also love the research. *00:02* And and they kind of linking that with Link's own story of like trying to save the world and and help everybody and *00:02* Um but it's it there's a part of me that feels ashamed to say this, but but it's emulated. *00:02* Because you've you answered you've helped answer a question that I don't think everyone didn't even know we had. *00:02* Um so up until that point I'd I'd been doing YouTube for about six years and and some of my videos were hits and some were definitely not hits. *00:02* And uh yeah. *00:02* Yeah, it it pile it can pile up quickly. *00:02* But but but by creating a documentary that is a true story from someone who worked in that i during that time *00:02* It's I really love the challenge of uh crafting something *00:02* Um and one of those things I had to create was the laptop sitting on a bench with the Excel file kind of on the screen. *00:02* I feel almost a kindred spirit. *00:02* And we talk about that. *00:02* Um and so it it it w the the illusion would be broken if people recognized that the CRT effect was digital, right? *00:02* Um and then that f half that footage got corrupted so I only had thirty minutes of that interview which was such a bummer. *00:02* And so you trying to find, you know, attribute it to something. *00:02* Like it it was um it was more than I had hoped for. *00:02* Oh wow. *00:02* Oh, that that's really interesting. *00:02* I I love the way you end this show. *00:02* I'm your host, Max Roberts, and joining me this time is Javid Sterrett from Good Blood in the High World Journal. *00:02* So yeah, it kinda a uh ended up being with this kind of cool parallel um that I just kinda ran with *00:02* You know, you're not like you said, you weren't working. *00:02* But but also the the art of leaving gaps and silence in in a documentary for audiences to put you know fill the gaps and it kind of uh *00:02* Like, um, even though I do love that wrestle, uh, I I do love the challenge of *00:02* And it it sounds like it's just from a place of passion and wanting to share. *00:02* Like it's I feel like that's the human element. *00:02* Because I'm used to it doesn't even hit you until the end. *00:02* Yeah. *00:02* At le at least that's my feeling. *00:02* So and I I brought that to Twitter. *00:02* Like when when did that come into focus for you? *00:02* You just want to you're informing and sharing just more layers to it instead of changing worldviews of it. *00:02* And that's um I you nail that balance, at least I think so, of information because it is new to most people. *00:02* Um so I I did make the call to like have do the sixteen by nine widescreen stuff. *00:02* If I can get her into the story and connected and attached to the characters and and what's happening visually, then I've kind of succeeded, you know? *00:02* You you ended up paying a guy Ethan a hundred bucks. *00:02* Um the first episode out now, 30-minute documentary called Lie by Line by Line. *00:02* Um and and that and and if yeah and and a few other little moments um with my graphics with uh and so it was *00:02* I was like, huh. *00:02* I'm I'm all too familiar with that type of digital clutter and again just sifting through all of that. *00:02* Yeah. *00:02* So it was it was almost four years ago to the day. *00:03* But this is a full documentary style approach that I really, really love about it. *00:03* And then the third column was Jason's column. *00:03* Holy shit. *00:03* But then fr from there s some other people started to to notice and you know it was it was funny because it was *00:03* Um or, you know, it kind of breaks down the tenses and and stuff like that. *00:03* You know, it's that that's really what you're searching for. *00:03* Um but uh yeah so so um so this was really f *00:03* You know, like um everyone thinks film is just such this passive *00:03* Um but but for me I I l like I said before, I I never really started out to *00:03* Wh which is kind of a weird kind of um problem or or like a concern, but it was definitely like something that I had *00:03* What did it feel like to work behind these closed doors, especially after I would think the very positive reception to Ocarina of Time video? *00:03* Um so so that's that's my background and um so I I I enjoyed *00:03* And out in Japan, uh they're the movies are called Wild Speed. *00:03* Like there's there's n uh you know uh or or they're about two grand. *00:03* Yeah. *00:03* Yeah, but potentially. *00:03* Was was that because I wrote about it? *00:03* So like people attach themselves to the sorrow and the regret, but also the pressures *00:03* Yeah. *00:03* It was like a press event. *00:03* I love that storytelling process. *00:03* And I feel like that's what Sean's doing with like the mirroring of whatever the guest is doing with like *00:03* I am I'm honestly super thrilled to be talking to you because I was talking before the show. *00:03* But yeah, um speaking to like the ten the ten episode season *00:03* So the the Japanese text was was correct. *00:03* Um and yeah, again, nothing came back. *00:03* Well good luck. *00:03* Now Jason's away from his family, and he's he's the only English translator. *00:03* That was the other one. *00:03* Before we wrap up, I I wanted to ask I g I've I thought about this earlier. *00:03* A rushed game is forever bad. *00:03* I I would love to know their research process because it's just gotta be so intense and in depth. *00:03* Mm it's a good question. *00:03* And in the podcast I have chapter art and I wanted the Japanese logo up while we were talking about the Japanese name. *00:03* So that was a thing too, and before I kind of talked about hunting for a message or like *00:03* I'm just curious about the directorial challenge of *00:03* You're coming back into the the past. *00:03* Or how did you know that? *00:03* I guess over the four years you've been uh really digging into Zelda a lot and you've *00:03* Um so I I built that whole scene in three D, so it's not a real laptop, it's just like a a three D yeah. *00:03* So I ended up giving him a hundred bucks. *00:03* Oh, he's the best. *00:03* The first column was the Japanese text. *00:03* I was like, oh no way, like out of you know, out of even though I tried to do such a good job in creating this consistency that there was this complete mismatch of *00:03* Um so my my my partner, she's not a video game nerd. *00:03* And I kind of feel bad for him because I think he he's had so many interviews in his life. *00:03* But he he cu he meets them where they are to bring those barriers down even further. *00:03* I'll I'll I'll speak to that that first part of of um like starting a new channel because that that that's definitely a risk. *00:03* But then I found a a Mac OS9 em w emulator in a web browser. *00:03* And then I realized that there's no way he actually filmed ZRT. *00:03* I was kind of annoying him on on Instagram trying to get a message and just never h heard anything back. *00:03* I I would love to create stuff for for anyone. *00:03* Okay. *00:03* Sure. *00:03* I I actually loved the chance to just go back and refine. *00:03* I can get that. *00:03* But but it ended up being pretty heavy duty on on After Effects. *00:03* I might reach out to him because I I saw some comments that he made on the on the video as well. *00:03* It took me a while to kind of find that in a way, but there is something natural in his story about the pressure of creating something. *00:03* If I just make like a small season of um of just small videos, you know *00:04* Like with with you know, with huge views. *00:04* Um and so I it it was pretty yeah it was it was a painstaking task 'cause I *00:04* I can't buy a two grand CRT. *00:04* Mm-hmm. *00:04* Like uh going back to my talking about experimentation, like that was something that I really tried to work on. *00:04* No, that's I I enjoy hearing that because the God of War video I can only imagine the challenge *00:04* Awesome. *00:04* Yeah. *00:04* Especially if that's what you want to do. *00:04* Dude, Sean is the pinnacle. *00:04* Um actually the re-edit was one day before uh four years of uh the masterclass at Subtext. *00:04* Yeah. *00:04* I I have to ask about the computer though. *00:04* net or you can follow me on Twitter at maxroberts143. *00:04* Like I I have a documentary background. *00:04* Um if that makes sense. *00:04* So I I appreciate the struggle of trying to recreate something accurately. *00:04* It's that's why I ask about it because it's like a treasure hunt, you know, people *00:04* So I didn't know this. *00:04* It's very hot, hot ones. *00:04* So that video looks at um Shintoism, so like some religious aspects to to the game and the undercurrent. *00:04* We I have another show called Chapter Select, and the pitch of that is we take series and we bounce back and forth between their entries just to look at them differently. *00:04* He he still has I think he actually still has like a sealed copy because he bought *00:04* You know what I mean? *00:04* But also for someone who's not informed, they just know it looks old. *00:04* Um but in the end it's like I feel like since this is a documentary about *00:04* And then kind of do full screen just so it's like the the best possible f footage I could I could get. *00:04* And I kind of you know, uh there's a lot of like all all the broadcast footage from the nineties are four by three and obviously you can't change that *00:04* There's a CRT in that closet back there. *00:04* Hey, I'll give a hundred dollars to anyone who can find the source. *00:04* Um so yeah, that's that's upcoming *00:04* Yeah, yeah. *00:04* Like all these pressures build to pour back into the game. *00:04* But but yeah, like it's sometimes it's just good to let footage just sit. *00:04* But she sees video game documentary and doesn't wanna sh she doesn't necessarily want to engage, but I I f I will try to convince her 'cause it's it is a story about *00:04* And so I th the the plan was to develop this kind of four episode *00:04* Because you work so hard, you publish it, and then there are these *00:04* Yeah, so I edit in in Adobe Premier and then *00:04* Like I I reached out to Dan Oson um who was who did all the localization for the previous games leading up to that point. *00:04* Yeah. *00:04* Um, yeah. *00:04* Yeah. *00:04* Thank you. *00:04* There's a lot of it appears high resolution textures or or clean things up. *00:04* Well it's it's kind of uh relational therapy one on one where it's like, I'm not sure if you've ever had like *00:04* Like um unlike my other videos, it was a challenge to try and tell a story without myself, you know, with someone else's voice. *00:04* You weren't able to go capture B-roll back in ninety eight. *00:04* Uh I started wondering if I could tell the story through like through Jason alone. *00:04* I liked it. *00:04* And then, you know, then you have to take, so here's the traditional, here's what people know, here's how Santa Monica portrays that and twists it. *00:04* But the second column was was just machine translation. *00:04* Like there's o other than like the the footage from the game and a few photos that I kind of sourced online, I there's no B roll to work with. *00:04* And so I ended up going through the process of recreating it and making sure that the katacana matched. *00:04* How do you organize all of that *00:04* And and so that that's what I ran with without really thinking about *00:04* It the whole thing and him *00:04* So I I'll try again. *00:04* I re I m I understand that. *00:04* Hmm Yeah. *00:04* The rest of the season is mostly me talking. *00:04* So so I it it's the story, but it's also the editing of what you see visually, what you hear sonically. *00:04* And a few people kind of found a few pieces that, you know *00:04* Yeah, yeah, right. *00:04* Um so you you basically stopped all forward momentum and hit the reset button. *00:04* Um w which is which which was my intention. *00:04* Um I I love it. *00:04* When you do the deep the deep dive research, it it can do it can really get *00:04* And they mailed out I think Pear Schneider talks about that one and uh, you know, they mailed the review codes in like a treasure box and if you look at um *00:04* You know, where it's it's not me at all, right? *00:04* Uh there's nothing else left to do but just uh offer the the show up to you. *00:04* Like if I was still in in journalism school, like *00:04* Like I just wanna pause all this hard work and just and just make some fun stuff. *00:05* I I think that's kind of the right tonality um as far as just *00:05* So I I I had the bench and I did like a bit of a tracking scene, 3D objects in in After Effects. *00:05* So it's it's super lo-fi still. *00:05* As b as much as we want to hear about Zelda, we want to hear about this process *00:05* Like uh the worst thing I it's almost like *00:05* That means a lot. *00:05* And just subtle things. *00:05* Like it's genius like relational um connection stuff too. *00:05* So I think for a lot of people it's it was the first time someone had tried to explain what those feelings were. *00:05* This is just uh like a symbol of of what this document was supposed to look like. *00:05* No, it's being more of a mat. *00:05* And I think this documentary gives clarity to *00:05* And it it's it sounds like it's a feeling. *00:05* And so the formula is is flawless where you've these two people are kind of eating food together and then the questions are just pinpoint. *00:05* And so I feel like when I was attacking the follow-up to that Ocarina video *00:05* So the numbers help in that way *00:05* You know, the other thing that you use *00:05* So to to kind of focus back on line by line specifically, this new doc. *00:05* So originally when I I grabbed the interview with Jason, it it actually was two interviews. *00:05* Without, you know, without me kind of uh sounding like a dick about it. *00:05* So if I was really playing the numbers game, like I'd have a completely different approach where I'd *00:05* I realized what you were putting on the screen you did because you know, just the way you're coming in and stuff. *00:05* Like they started to dissect how it could be done. *00:05* Yeah. *00:05* I I enjoy it, but speaking of that negative space, I notice you *00:05* Okay. *00:05* He went through and just, you know, really start to spice things up and bring in more conversational kind of tones in the dialogue. *00:05* Cause so I went I tried finding like screenshots or pictures of *00:05* I know it was when I was sitting down and taking notes, I was like *00:05* So I it's a *00:05* Yeah, yeah. *00:05* Or did you know that? *00:05* But yeah, so so it ended up being this really *00:05* I I start off with a bang, but it's not an indication of the tone of the rest of the season. *00:05* Like it it's not ideal. *00:05* Um not even thinking that it was *00:05* Like if it's actually a informational piece. *00:05* Yeah, yeah, yeah. *00:05* I grabbed that straight from the the text dump *00:05* Yeah. *00:05* That's so funny. *00:05* You know, the uh I f I uh dude, the um I'm y you might know, but like *00:05* And so when when it came to Ocarina *00:05* So like he had he's a big collector and he would have a lot of stuff. *00:05* Um so I started really pushing into into that space after I I found that. *00:05* You're like, oh, he didn't say anything. *00:05* Um I find it it's more difficult to do with your own voiceover because it's *00:05* A delayed game is eventually good, but a rushed game is forever bad, yes. *00:05* This this hunt for the quote. *00:05* Um I I yeah, e even before that I I *00:05* It's just like a y you say a portal, I I think a window just like *00:05* The closer you get, it changes faces and stuff like I've I love that. *00:05* So it's the amount of time that goes into shots like that is sometimes just crazy. *00:05* So uh yeah and then w *00:05* It's the human element. *00:05* Like, and so that's actually um one of the episodes from from the season is ex is going through that whole that whole journey. *00:05* I love that you were able to dig and then prompt other people to help you dig and find what seems to be the truth about that. *00:05* And I got obsessed with um compilations of *00:05* He was EGM. *00:06* So I was I started researching, okay, can can I just find the source to this famous Miyamoto quote, you know, a rushed game. *00:06* Uh and and after like a few days *00:06* Um i if you look at my videos like *00:06* The second column was um a straight translation done by Bill Trinan. *00:06* Um and and even thinking like what kind of laptop would Nintendo give Jason? *00:06* Hmm. *00:06* Because I think once you get them in the door *00:06* Of course, of course. *00:06* So if if I if you can kind of f for any storyteller out there, if if you harness that stuff, if you if you find your human truth *00:06* So then I I brought that question to my Discord. *00:06* I love hunting for stuff. *00:06* Um this is that treasure hunt we're talking about. *00:06* But then someone else came forward with more information. *00:06* And so I I hunted around for a CRT for a while. *00:06* I I realize as I'm saying it, I'm like, okay, I don't want to quote Sean and say, roll out the red carpet for you. *00:06* Like he is. *00:06* Like it's the goal is not to grow it into something *00:06* It's just like here's just this channel *00:06* So with um so one of the great challenges with this Doco was that *00:06* So a bit more of a stagnant kind of to and fro um thing. *00:06* I I want to try again. *00:06* Sean always eats the same type of chicken wing they do. *00:06* And I think to to what you said before of uh *00:06* Do diligence due diligence. *00:06* I feel like that's a it's a natural spot for that. *00:06* So that's new to me as that audience, but it sounds like it was a return to home, kind of a home base for you. *00:06* I think another element was I I try to create this stuff *00:06* It did. *00:06* You've got magazines *00:06* So I ended up doing a lot of research on like the broadcasts that were happening around that time. *00:06* Now you're a silent storyteller in the way of slicing and dicing and presenting Jason's story. *00:06* So well which is funny because later on Miyamoto *00:06* Um kind of uh *00:06* I I wish I knew that that existed. *00:06* And Yeah. *00:06* So she came forward and so th um fascinatingly what had happened was *00:06* So I even before YouTube I was *00:06* Like I kind of stumbled upon that like, yeah, that kind of feels like *00:06* I've I've tried to to to teach myself *00:06* You're using images, you're tracking, and is it all an after effects? *00:06* Anyway, so the the next option was for me to just recreate a CRT effect. *00:06* If you don't it *00:06* I'm I'm super it's a great way to kick off the year and I'm I'm looking forward to it. *00:06* And so I just started *00:06* Yeah. *00:06* Um so it was uh *00:06* So so what I ended up doing was um *00:06* Uh it's I I couldn't quite f work it out. *00:06* You don't have to organize it. *00:06* And that's wildly misrepresentative of *00:06* Um because I I think a lot of the time and this is not a bad thing. *00:06* Um so I can kinda force it to go sixteen by nine and it stretches out the side so you can start to see information that wasn't there before. *00:06* I get I get excited by like surprises and unique things and *00:06* Yeah, it's it's awesome. *00:06* Let's this is like twenty-four years old thing. *00:06* Because it it was in the late nineties, so it could have been the other way around. *00:06* So with the CRTs *00:06* Like it looks like Yeah, which is the best. *00:06* As a viewer, it absolutely did. *00:06* And so I I I reached out to these people and nothing came back. *00:06* Yeah. *00:06* Um you changed it originally was a power book. *00:07* So yeah, it was it was a bit of like a oh the the last thing I want to do is is get that stuff wrong. *00:07* He was the the first time. *00:07* So when did it when did you land on Jason being *00:07* Well well I think the that *00:07* So I I replaced that, completely replaced that whole scene and then did a did a re-upload *00:07* Okay. *00:07* It was great. *00:07* Yeah. *00:07* Um which has been really helpful but but I think *00:07* I Yeah. *00:07* Sean and that research team, I really genuinely think is is peak journalism. *00:07* And so like aesthetically, if I can bring the audiences into that era again. *00:07* To my eye *00:07* Because if you if the broadcast stuff was four by three and then the video game stuff was four by three, there's just a lot of black *00:07* So when did when did the scope grow into that besides just one documentary? *00:07* It was comp it was that that was a complete fluke. *00:07* Um so I had to *00:07* So I so that was another thing I changed. *00:07* Yeah, that's that's a good question. *00:07* Um *00:07* It's it's yeah, it is that pressure. *00:07* That kind of also leans into you took line by line down. *00:07* Uh but it but it's always been a platform for experimentation that the growth part of it has just been a nice *00:07* I uh *00:07* Yeah, it was it was awesome. *00:07* And until next time, adios. *00:07* I don't know if you were aware of this. *00:07* But I I tracked footage onto the the screens. *00:07* Um *00:07* Um she she goes through the process of of breaking it down for me. *00:07* I kinda *00:07* Where's his voice? *00:07* You know, so it talks a lot of you know, Norse myths. *00:07* What is that like? *00:07* No. *00:07* You're using whatever you could pull from the internet. *00:07* I tell you all of this because the the Hobbs and Shaw, the Dwayne Johnson one. *00:07* Um not that I *00:07* Uh that's fine. *00:07* It was so good. *00:07* And so a lot of *00:07* Yeah. *00:07* Uh but what that brought with it was this this pressure to uh *00:07* Like it's it's been this real challenge to to uh *00:07* If it didn't work, I'd had to do it again. *00:07* Um, but it's like a widescreen hack. *00:07* Um it's not out because there's a baby in the house now. *00:07* I love it. *00:08* Uh yeah, so so it's it's kind of the long way around, but I find that *00:08* Uh, but I found that I my interest just *00:08* And yeah, and and that's like it's *00:08* He said so many things to people. *00:08* Like *00:08* You know, like it's 'cause you you're doing something with your hands. *00:08* Yes. *00:08* I ended up getting like finding like an Excel *00:08* Yeah, yeah. *00:08* Due diligence. *00:08* So that added to the length of the production cycle was I would have some footage *00:08* Which just makes it all the more impressive because it *00:08* And with a further reach comes more different types of feedback. *00:08* And then I found *00:08* And then Ethan came through with something *00:08* If they're drinking soy milk, he drinks soy milk. *00:08* There there's gonna be links to all this in the show notes. *00:08* But I I like as someone *00:08* Well where like one of the techniques is to say something back to them. *00:08* It was so fun to like that just a few days of everyone just hunting for this quote. *00:08* And we talk about it for maybe a minute. *00:08* Cause, you know *00:08* Um *00:08* Um *00:08* Yeah, it's it's it's interesting like *00:08* So *00:08* So it's yeah, so it's it's emulated through uh through Project 64. *00:08* You know, I'm like, I st don't have that I'm I'm uh *00:08* This is presenting *00:08* Hmm. *00:08* So sorry if my answer is not as uh *00:08* Like it it wasn't uh *00:08* It's like informational, you're kind of going through different points and fact points and stuff. *00:08* And you kind of facilitated the search on on Twitter. *00:08* You know, like the there's just no changes until you do the director's cut. *00:08* Um *00:08* Yeah. *00:08* I've been watching your stuff since the Ocarina of Time masterclass in subtext. *00:09* I I actually wanted to like triple *00:09* Um *00:09* And and I find that *00:09* It just hits right there. *00:09* So *00:09* But but the formula's great because it's *00:09* Um *00:09* And I th I you nail it in the documentary. *00:09* It's like uh *00:09* If they're having vegan wings, he's eating vegan wings. *00:09* Um and so I I didn't really know where to start. *00:09* Yeah. *00:09* That's um *00:09* I feel like I I worked really, really, really hard on that to try and *00:09* It's like, of course Miyamoto said that. *00:09* Just let people uh tell people where they can find you, where they can watch all your stuff. *00:09* I had had no idea. *00:09* Like *00:09* So that's where it came from. *00:09* Well you kind of actually *00:09* I kind of took the the Mac the powerbook um logo away as I kind of went back. *00:09* So I ended up grabbing like a *00:09* So s but but *00:09* Um also Bill Trinan, you know, that that's such a long shot 'cause he's such a Nintendo. *00:09* If you could get in touch with him, I think he'd be a good resource for you. *00:09* So like it's fun to see all these connecting dots and just *00:09* Right. *00:09* Um *00:09* And but then, you know, they're doing it in their certain font style. *00:09* Um because it's it's not my story. *00:09* You know, like she's uh *00:09* I wrote it down. *00:09* It's it just breaks those barriers down and gets better answers out of Sean's best. *00:09* I love the whole approach because it's *00:09* Yeah. *00:09* I mean *00:09* Um you y YouTube's a funny place where *00:09* Uh you seem to you're an animator. *00:09* Um *00:09* Yeah, that's it. *00:09* I wish I knew *00:09* Yeah. *00:09* He probably doesn't even remember that he didn't say it. *00:09* Yeah. *00:09* You do lose momentum and you do lose a bit of numbers, but *00:10* So I ended up just having Jason *00:10* Uh is this the kind of stuff *00:10* You built it, you created that. *00:10* And I I started cutting that together. *00:10* Uh I love that you brought this up. *00:10* Right. *00:10* It's so one of my favorite parts. *00:10* I hate it so much. *00:10* That was not planned. *00:10* Um *00:10* And then *00:10* So that was kind of my starting point at documentary filmmaking where *00:10* I *00:10* Um I interviewed him once *00:10* So I started going back through all my notes I collected *00:10* Uh th th those are like year like year apart um interviews. *00:10* And so *00:10* It gives it there's *00:10* But but it was funny, um s some of the comments were *00:10* I *00:10* Uh *00:10* Um *00:10* This is just causing too much *00:10* Like it that's the greatest compliment I could ever have is *00:10* Um *00:10* So the name we were searching for was was her dead name *00:10* Like it's this *00:10* Um *00:10* And so I *00:10* Like it's just *00:10* Um *00:10* But then you digging, you can't find that source, which *00:10* Um he you know, without really any story um *00:10* Um but but *00:10* How are you? *00:11* Okay, okay *00:11* I just when you *00:11* Please go check it out. *00:11* Like it the art is up. *00:11* It's *00:11* It's *00:11* Um *00:11* I I I hope no one *00:11* Uh *00:11* I'm I'm just *00:11* Um but that's a cool little little tidbit. *00:11* That's kind of *00:11* So there's a commonality there. *00:11* I thought that may have been some sort of *00:11* Jason's the only person talking in the whole video. *00:11* Um *00:11* So I had so the the first step was to like *00:11* Because filming a CRT is notoriously difficult. *00:11* But *00:12* Like it my brain *00:12* You know, like *00:12* Um I I would gladly like *00:12* Go watch it. *00:12* So it it's not like I'll, you know *00:12* So like *00:12* So it was yeah, it was an *00:12* It's not just straight *00:12* It's used for a minute. *00:12* And it's *00:12* There's no footage of *00:12* Um *00:12* You know, like *00:12* Okay. *00:12* It's *00:12* Even though *00:13* It's not even *00:13* Um *00:13* Um *00:14* Yeah. *00:14*