Speaker 1: Oh he is, folks, it's show die. People pay good
Speaker 1: money to see this movie.
Speaker 2: When they go out to a theater.
Speaker 1: They want cold sodas, hot popcorn, and no monsters.
Speaker 2: In the Protection Booth, everyone pretend podcasting isn't boring.
Speaker 3: Don it off.
Speaker 4: Oh hey, folks, welcome to a special episode of the
Speaker 4: Projection Booth.
Speaker 2: I'm your host Mike White. On this episode, I'm talking
Speaker 2: with Steve Newburn. He is the designer of the Creature
Speaker 2: suit and the creator of the creatures from the film
Speaker 2: Sasquatch Sunset. It is a relatively new film from David
Speaker 2: and Nathan Zelner. It was great getting a little bit
Speaker 2: of a peak behind the curtain when it comes to
Speaker 2: some of these makeup effects. Had a great time talking
Speaker 2: with mister Newburn, and I hope you have a great
Speaker 2: time listening. Thank you so much. Obviously, I want to
Speaker 2: talk to you about Sasquatch Sunset, which is a tough
Speaker 2: name to say repeatedly, especially. Can you tell me a
Speaker 2: little bit about how you even decided to get into
Speaker 2: the business and how you started to do makeup effects.
Speaker 1: I think it's true for everybody my age, but we
Speaker 1: all just grew up in the era of Star Wars
Speaker 1: and Jaws and all those kinds of plan of the
Speaker 1: Apes and all that stuff back in the seventies and
Speaker 1: early eighties and whatnot. And it just a fan and
Speaker 1: it wasn't something I started with that direction in mind.
Speaker 5: It.
Speaker 1: I actually went to school for business and everything, and
Speaker 1: it was just I grew up in Los Angeles, so
Speaker 1: just being in Los Angeles, I just connections and stuff
Speaker 1: and it was like, Oh, would you like to check
Speaker 1: this out sometime, and Oh, yeah, that'd be really neat.
Speaker 1: I've been a fan of that I was a kid
Speaker 1: and going in and just it was one of the
Speaker 1: big Los Angeles shops, creature shops, and it just it
Speaker 1: turned into a thing where it's like, oh, you want
Speaker 1: to come back, Sure, I'd love to come back. But
Speaker 1: kept coming back and became a part time gig and
Speaker 1: then a full time gig and then a career.
Speaker 2: That's amazing. What were some of those early effects that
Speaker 2: you were working on.
Speaker 1: The earliest things that people would recognize It would be
Speaker 1: like Starship Troopers and Alien Resurrection and a lot of
Speaker 1: stuff coming out around then. The early like first X
Speaker 1: Files movie. The company was Ady, I was Sam and Alex.
Speaker 1: They started with stan Winston back in the day, and
Speaker 1: they got off and set their own company and did
Speaker 1: Jumanji and a bunch of other stuff back then. But yes, yeah,
Speaker 1: fell in with them in mid nineties.
Speaker 2: In this line of work, do you tend to specialize
Speaker 2: in one area or over something else.
Speaker 1: It depends where you are in the world, I think,
Speaker 1: and Los Angeles is very department wise, so you tend
Speaker 1: you tend to fall into a certain you know, area
Speaker 1: of the of the job where there was sculpting or
Speaker 1: molding or painting or whatever. But a lot of the
Speaker 1: world it's jack of many trades. Meeting in Los Angeles,
Speaker 1: I fell into the kind of what they can call
Speaker 1: the lap part of it, which is all the technical
Speaker 1: side of it res supposed to the artistic side of it.
Speaker 1: And that was just a good place to get your
Speaker 1: feet wet and for people who had, you know, the
Speaker 1: drive to be there, but didn't necessarily have refined artistic
Speaker 1: skills they were looking for. And with me just being
Speaker 1: a fan, I you know, it was stuff I tinkered with,
Speaker 1: but I wasn't nearly as refined as some of the
Speaker 1: guys who were, yep, the experts of the time. So
Speaker 1: as far as artistically speaking. So I fell into the
Speaker 1: technical side of it and just grove from there. And
Speaker 1: eventually my wife's Canadians, so we'd moved up to Canada
Speaker 1: at one point where we had kids, and Canada is
Speaker 1: more of a you do everything kind of situation, and
Speaker 1: some of the smaller shops now LA were the same.
Speaker 1: So I did first aside at that point, and this
Speaker 1: is maybe five years in, I would say, and just
Speaker 1: got in, got my hands wet and Pete wet doing everything. Yeah,
Speaker 1: it just down for crows from there.
Speaker 2: You mentioned the X Files, and I know they shut
Speaker 2: a lot in Vancouver set around where you were at.
Speaker 1: Yeah, that was the TV series I like, I specifically
Speaker 1: worked on the first movie, which was in and around
Speaker 1: Los Angeles. A lot of it was twenty Century Fox Studios. Yeah,
Speaker 1: we were doing all the back then it was all hushash,
Speaker 1: top secret. But it was like the Aliens and all
Speaker 1: the various stuff that came along with them, but that
Speaker 1: was all in the studio a lot.
Speaker 2: Tell me about Sasquatch Sunset. How did this project come
Speaker 2: to you?
Speaker 1: Yeah, and so I have a relationship with Ari Astor
Speaker 1: and Lars Nissen, and like they had their company Square Bag,
Speaker 1: and I've been with Ori since Hereditary and it was
Speaker 1: just one of those the next projects that kind of
Speaker 1: came across their plate. And Tyler, who's one of the
Speaker 1: other producers there with them, he cast me pretty much
Speaker 1: for everything they have that comes along that has some
Speaker 1: sort of prosthetic or makeup of that kind of thing
Speaker 1: happening in it. And it was the height of COVID
Speaker 1: and nothing was really happening, and they were like, we
Speaker 1: have this perfect movie. That's a COVID movie. It's the
Speaker 1: tiny little bubble shooting exteriors. You won't be around people,
Speaker 1: would you be interested? And I was like, sure, why not?
Speaker 1: Sounds interesting? What is it? And then so it's about
Speaker 1: a family of sasquatch and I was like, really tend
Speaker 1: me this script. But just growing up, I'd been a
Speaker 1: huge fan of Hary and Anderson's which with Baker's Harry
Speaker 1: Suit I still think is like the that's the pinnacle
Speaker 1: for a sasquatch, by that thing you're not oh yeah, yeah.
Speaker 1: So I'd always looked at that. In these days, it
Speaker 1: seems every time you see a sasquatch, it's either a
Speaker 1: you know, a furry monster in the woods killing campers,
Speaker 1: or it's a jerky commercial, and so so this coming
Speaker 1: along was oh, wow, we could actually do something that's
Speaker 1: better than a jerky commercial. And these are characters and
Speaker 1: not just a monster in the woods. So it was
Speaker 1: that got my intrigued. And then just by fact virtue
Speaker 1: of the fact that it was for and ours and
Speaker 1: those guys, that was just I didn't no matter what.
Speaker 1: But as a fan of Harry I've always He's been
Speaker 1: my top three movie monsters. It was just a natural.
Speaker 1: I wasn't walking away from it no matter what.
Speaker 2: So how much of the design comes from you versus
Speaker 2: is there like a character designer? Like, how does that
Speaker 2: process work?
Speaker 1: I talked to the brothers. It's like, right after talking
Speaker 1: to David, I had an idea my head, just based
Speaker 1: on again being a fan of Harry, and like what
Speaker 1: I liked about that idea, and it was if I
Speaker 1: ever had a chance to do a Sasquatch, what would
Speaker 1: I I had an idea in my head of what
Speaker 1: I would want. They're talking to David and Nathan. They
Speaker 1: had their ideas and we batted them back and forth
Speaker 1: and we were very much on the same page. It
Speaker 1: was coming up with a character as opposed to a
Speaker 1: movie monster. It was something that you could relate to,
Speaker 1: that had emotions that just it's another animal in the
Speaker 1: wild going about it's daily business. And so I in
Speaker 1: that sense, I think we were very much on the
Speaker 1: same page. I have some photoshop guys I work with,
Speaker 1: and then the people I work with, we all mutually
Speaker 1: got together and refined it based on at the time
Speaker 1: who cast was going to be. That tweaked a little bit,
Speaker 1: but in the end it was like, okay, so we
Speaker 1: have Riley, we have Jesse and Nathan, we had Christoph.
Speaker 1: How do we take this script which was quite this,
Speaker 1: very descriptive actually right down to the tiny details, so
Speaker 1: you knew who these characters were, So how do we
Speaker 1: convey those personalities in the looks while maintaining this kind
Speaker 1: of aesthetic aim of trying to do something that's better
Speaker 1: than a jerky commercial and hopefully living up to whatever
Speaker 1: we can do with without time or money to try
Speaker 1: to do our own.
Speaker 2: Harry, Well, it's going to be interesting to bail the
Speaker 2: characters with the actors and allow the actors to both
Speaker 2: inhabit the makeup effect itself with their own personality and
Speaker 2: that's got to be pretty tough to do.
Speaker 1: It took them back and forth and we certainly refined
Speaker 1: things a little bit as far as internally with us,
Speaker 1: and then it was But the funny thing was is
Speaker 1: we again, we did these these two d renders and
Speaker 1: photoshop just immediately my concept was and I forwarded those
Speaker 1: over to the brothers and they were like, this is
Speaker 1: actually very close to what we had in mind. We
Speaker 1: didn't really have a lengthy design process, and the movie
Speaker 1: was with finances and everything, it was on and off
Speaker 1: for a couple of years before we finally made it,
Speaker 1: so we had a lot of time to back things
Speaker 1: back and forth and just little tweaks. And the biggest
Speaker 1: design attribute, I guess you could say that I wanted
Speaker 1: and they agreed with completely, was that if these are characters,
Speaker 1: they have to perform as characters. We don't want to
Speaker 1: do contact lenses because eyes of the window to the soul.
Speaker 1: Confe and the Brothers were completely on board with that
Speaker 1: and agreed that it was we're getting name actors and
Speaker 1: burying them under all this stuff. There's got to be
Speaker 1: something there that says that's Jesse, that's Riley. There's a
Speaker 1: reason for having these performers in these things, and I
Speaker 1: go back now and watch the movie, and I like
Speaker 1: Riley especially. It's like the thousand yard stare that she's
Speaker 1: got or the beaten down, battered woman kind of thing
Speaker 1: going on. There's I'm gonna keep these idiots alive. It's
Speaker 1: all in the eyes for me. It's so that for
Speaker 1: us just makes our lives a million times easier.
Speaker 2: So obviously it's not just the face, it's the entire body, hands, feet,
Speaker 2: everything that you're doing. Obviously they don't have to wear
Speaker 2: that all the time at the same time, but it's
Speaker 2: gotta be tough for those actors, and then it's gotta
Speaker 2: be tough for you as far as it's not just
Speaker 2: you doing all this. I imagine no with.
Speaker 1: Myself and three others with me on set, So we
Speaker 1: each had our own character that we dealt with. Primarily
Speaker 1: juggled them once they were put together, but in the
Speaker 1: morning we each put our own character together. But yeah,
Speaker 1: they were in those suits every day for fourteen fifteen
Speaker 1: hours while we filmed, and yeah, no brakes. Acup doesn't
Speaker 1: come off. It's not a mask, it's glued down. The
Speaker 1: best we could do was n zip the suit occasionally
Speaker 1: and folded down like you would have a wet suit.
Speaker 1: Christoph had done this kind of stuff before, so he
Speaker 1: was completely knowing what he was getting into. Napan was like,
Speaker 1: as he put it, it's my movie. If I can't
Speaker 1: handle this, how can I expect somebody else to. Jesse
Speaker 1: looked at it as a challenge of being an actor.
Speaker 1: Riley was, I think that much in the same bank.
Speaker 1: She looked at it as part of the challenge. It
Speaker 1: was an experience. The haster point, what made you do
Speaker 1: this because it's so different from anything you've done before,
Speaker 1: and you've never been in prosthetics before and anything. And
Speaker 1: she just said, it's that's why I've never done anything
Speaker 1: like this. I just walt the experience and don't think
Speaker 1: she knew what she was in for, And it was
Speaker 1: it's rough the first couple of weeks when you're not
Speaker 1: used to the sort of things. I know, Jesse and
Speaker 1: Riley certainly had their bonding moments or something. Sure, you
Speaker 1: get to that point where it just becomes part of
Speaker 1: the routine and you learn to live with it and
Speaker 1: you get do the acting part. So for them, that's
Speaker 1: a conversation to have with them and I know I've
Speaker 1: certainly had those conversations with them, and I know they
Speaker 1: didn't love it. They rose to the challenge.
Speaker 2: Well, in memory search, you've put yourself in pressIt x
Speaker 2: many times for as well.
Speaker 1: I've been in things here and there, I wouldn't say
Speaker 1: many times, but not like that, nothing in those conditions.
Speaker 1: This is the biggest thing where I got to commend them,
Speaker 1: because where you get these creatures superformers, you get a
Speaker 1: Doug Jones type, if you know what that is, and
Speaker 1: these guys who have been around for decades doing this
Speaker 1: kind of stuff, and you'd think ninety nine percent of
Speaker 1: the time you're on a sound stage in idealized conditions
Speaker 1: and working with a nice trailer outside that you can
Speaker 1: go and sit in cool off any or whatever. And
Speaker 1: we were out in the wilderness and there was nothing around,
Speaker 1: and the weather was what it was. If it was
Speaker 1: dumping rain on us or snow on us, or eighty
Speaker 1: five degrees outside, you just had to deal with it.
Speaker 1: They got thrown in the deep end in a worst
Speaker 1: case scenario.
Speaker 2: Not only are you designing the use and putting these
Speaker 2: on and everything, but then that they have to worry
Speaker 2: about the weather because like you're saying, like, normally, yeah,
Speaker 2: you're safe and environed, and then here you are now
Speaker 2: out in the wild. That's a head to have made
Speaker 2: it even tougher today. Yeah, yeah, I mean zero luxury
Speaker 2: at all. So I mean for them, I admire what
Speaker 2: they did.
Speaker 1: I don't know. I would beat my own way through
Speaker 1: it if I had to it, if I was ever
Speaker 1: in their shoes. But most people, and certainly most legitimate
Speaker 1: actors can't even begin to understand. You hear the horror
Speaker 1: stories over the years about people on certain type profile
Speaker 1: movies and I couldn't deal with it. I needed to
Speaker 1: hire a guy who's the Navy seal to train me
Speaker 1: to for torture for whatever. And you're on a down
Speaker 1: stage with an air conditioned trailer out there and you
Speaker 1: get to sit back and drink your latte and just
Speaker 1: kind of stuff. And they didn't get any of that.
Speaker 1: But it was like, no, you get to sit in
Speaker 1: a launch chair on the side of the road and
Speaker 1: cook or freeze or whichever it was. It. I talk
Speaker 1: about them endlessly because I admire what they did, but
Speaker 1: from our standpoint, we've got exactly the same thing. We're
Speaker 1: thrown into the deep end again, no time, no money,
Speaker 1: don't have ten copies of each suit. We had plus
Speaker 1: a backup, and so it's if they got thrown like
Speaker 1: Jesse thrown in a river and it's like that river there,
Speaker 1: it was like forty one degrees or something like that bahrenheit.
Speaker 1: And so he's still out there and happy to come out,
Speaker 1: and we're trying to just figure out how to be
Speaker 1: suits out so you can actually wear it. The next
Speaker 1: day said not freezing it aft and up in the snow.
Speaker 1: I think they welcomed the colder days because these suits
Speaker 1: are so hot, and the foam suits are hot to
Speaker 1: begin with, and then you throw a layer of hair
Speaker 1: over that. Nothing but admiration.
Speaker 2: Now, if they're in snow, are they still Sasquatch or
Speaker 2: do they become yetty.
Speaker 1: They're not white, but I don't know if there. Yeah,
Speaker 1: the movie was always intended to go across four seasons,
Speaker 1: and when we finally he was on off, like I said,
Speaker 1: finances and all that kind of stuff. And when we
Speaker 1: finally got it, we thought it would be too early
Speaker 1: in the season to actually have any snow. And we
Speaker 1: were about halfway through the shoot and they were like,
Speaker 1: it's dump snow in the mountains. We're going to the
Speaker 1: mountains tomorrow. And it was like sixteen inches of snow
Speaker 1: suddenly came down one night and it was up in
Speaker 1: a blizzard then and wich started warming up and then
Speaker 1: turned into freezing rain and just yeah, it was miserable
Speaker 1: for everybody. Again, I have nothing but trudos.
Speaker 2: Do you have like Sasquatch experts coming up to you
Speaker 2: and saying, Oh, the nose wasn't broad enough, the forehead
Speaker 2: wasn't high enough, funny enough.
Speaker 1: Our locations. Guy in the movie was like the vice
Speaker 1: president of some like International Sasquatch Believers Society, and he
Speaker 1: would just come over to me daily and just stand
Speaker 1: next to me and just kind of mumble things like,
Speaker 1: this isn't what it's like, right, Like, dude, I think
Speaker 1: I rained on his parade because it's like the one
Speaker 1: film that famous film there was I can't even think
Speaker 1: what then or something Patterson Gimlin film. Yeah, and it's
Speaker 1: it's a known thing. That was a guy named John
Speaker 1: Chambers that made this thing back at the time, and
Speaker 1: it's just no one in Hollywood circles. This is what happened.
Speaker 1: And I mentioned it to the guys I've heard that rumor.
Speaker 1: It's completely debunked, and I'll tell you why did for him?
Speaker 1: What makes them happy? But yeah, there was no convincing
Speaker 1: of otherwise. But no, it was fun because it was
Speaker 1: all real sasquatstor this is the land where you supposedly
Speaker 1: see these things, which we never did. But I'm sure
Speaker 1: there was a lot of logging truckers driving by that
Speaker 1: would see them on the side of the road that
Speaker 1: I'm sure we'ren like, well, wait a second.
Speaker 2: A lot of sightings in the local paper.
Speaker 1: Yeah, exactly. So what are you.
Speaker 2: Working on these days? What's got your attention right now?
Speaker 1: I am in Budapest at the moment. It's finishing up
Speaker 1: until dawn with David Sandberg as the director who did
Speaker 1: Shazam and Lights Out and those things, and we're just
Speaker 1: literally on our last week of that and we finished
Speaker 1: some nine months on Del Toros. Frankenstein recently just did
Speaker 1: another movie, Ari's latest, Eddington, which was shot down in
Speaker 1: New Mexico just prior to coming out of the Buddha Pest.
Speaker 2: It's been what sounds like it. How do you get
Speaker 2: your gigs? Obviously you've worked with Ari several times. It
Speaker 2: sounds like it's a natural for you to be on
Speaker 2: the next one of his or this one that you
Speaker 2: just did. But are they just like, hey, we need
Speaker 2: this guy, Like you've been in the business for a
Speaker 2: couple of decades now, so yeah, yeah, do they just go, okay,
Speaker 2: give me Steve Newbern.
Speaker 1: It's everybody has their kind of go tos, it feels
Speaker 1: so the producers, all the various people, they all have
Speaker 1: their go to people. My go tos keep was busy.
Speaker 1: So it's like, aren't Ari and his productions, whether he's
Speaker 1: directing or do this produce thing. They kept us quite
Speaker 1: steady for a number of years now since the Hereditary
Speaker 1: being out here with on this movie. This is again
Speaker 1: with David. I've known David since Hizam and we actually
Speaker 1: have done a few things together now and this is
Speaker 1: just another one. So it's like I said, it's just shoting.
Speaker 1: Once you have a handful of contacts in your pocket.
Speaker 1: It feels like the industry kind of works in cycles,
Speaker 1: and so that guy will be finishing his project and
Speaker 1: editing for the next eight months, but oh, the next
Speaker 1: guy is falling into place with his project and it
Speaker 1: just works. I was out pretty well it's usually very
Speaker 1: little downtime and more often than not overlap several projects.
Speaker 2: I don't want to ask you to spill any trade
Speaker 2: secrets or anything, but you've got an interesting credit for Frankenstein,
Speaker 2: which is prosthetic bodies? Right, What did you do for
Speaker 2: that one? Or can you even say that.
Speaker 1: You can imagine? No, the answer is no, you can't
Speaker 1: talk about it. Obviously they just wrapped this week on
Speaker 1: in the UK, I believe, But yeah, we had nine
Speaker 1: months of you can figure it out. It's friend the story.
Speaker 1: You can figure it out.
Speaker 2: When I see those prosthetic bodies, I will definitely be
Speaker 2: thinking about you.
Speaker 1: Oh, there's dirt plenty. There probably be lots this day.
Speaker 1: Nothing to do with the title monster, we'll see that.
Speaker 1: That was Mike Hill who's done like to shake of
Speaker 1: water and all those things, and he worked his magic
Speaker 1: for that and a lot of a lot of it
Speaker 1: was farmed out to other people. And then that's our piece.
Speaker 2: Of the puzzle. How much are your designs and your
Speaker 2: actual makeup effects? How often are they enhanced with digital
Speaker 2: effects or it's a pure makeup.
Speaker 1: It all depends on the show. Like Sasquatch two is
Speaker 1: no digital so they didn't have the time or the
Speaker 1: money or whatever for it, so it was just like
Speaker 1: what on camera is exactly what was there on the day.
Speaker 1: That's why we've for us that was a big, you
Speaker 1: know thing, because we're patting ourselves in the back of
Speaker 1: that because how often do you see but usually what
Speaker 1: we do is it's namely in the background on Star Trek,
Speaker 1: it's something that passes through a scene, or it's a
Speaker 1: it's hiding in the shadows, and we were out there
Speaker 1: in broad daylight for every single frame of the movie.
Speaker 1: It's an achievement. If nothing else that the fact that
Speaker 1: we did that, because the whole few people in our
Speaker 1: industry have ever tried to been approached to do anything
Speaker 1: like that.
Speaker 2: It's been saying oh yeah, cheating aloud with that.
Speaker 1: Yeah. These days, you go in with the intectic. You know,
Speaker 1: you'll do as much practically as you can and in camera,
Speaker 1: and it depends on the director. Again, the project we're
Speaker 1: on now until Dawn David loves is in camera. If
Speaker 1: he can get it in camera and not have to
Speaker 1: enhance it, he will. I'm not opposed to computer enhancement.
Speaker 1: It's just the nature of the business these days. They
Speaker 1: don't give you the time to do this stuff. Funny Moore,
Speaker 1: that used to get six months to prep something. Now
Speaker 1: you're lucky if you get six weeks. When it comes
Speaker 1: time to shoot it, Inevitably, we're always just put it
Speaker 1: off to the last shot of the day, and second
Speaker 1: units for practical stuff and a camera work are becoming
Speaker 1: fewer and further between, it seems like these days. So
Speaker 1: it was nice to see recently like Alien Robulus was
Speaker 1: so practical, for example, but which we're shooting at the
Speaker 1: same studio right now. It's expected that they're gonna ceg
Speaker 1: over and use a lot of what we've done practically
Speaker 1: as an element or at least a pretty point of
Speaker 1: foundation to build on. Totally find with that whatever gets
Speaker 1: the vision on screen and looks the best, So combinationtive tools.
Speaker 2: Mister Newmer, thank you so much for your time. This
Speaker 2: was so great talk with you.
Speaker 1: I appreciate it. Thank you.
Speaker 3: It's being okay with about.
Speaker 5: That broad by my side, about seventh call.
Speaker 3: They first law with us six shain't coming.
Speaker 5: Hide or we run around to say we have the
Speaker 5: tall guns. Run the boat shower on the west, stay.
Speaker 1: Outside and do our childer design.
Speaker 6: Most of the time.
Speaker 4: We don't have a cast.
Speaker 7: Running with beguar, running with me God, running with before yet,
Speaker 7: running with Begird, running with before, we're running wet.
Speaker 5: Be good yet winna get tied six me up and
Speaker 5: it gives me a biggie back ride when we got
Speaker 5: home and thank about that, you know, Peter butter a
Speaker 5: Sewich cried or we bed ties. We had bucks do
Speaker 5: a lot of bag in all the forest, finer side
Speaker 5: and wearing my pout me for it's saying, running with.
Speaker 7: Be goot, running with before, running with me but yet,
Speaker 7: running with me good, running lift begun, running with me
Speaker 7: good yet.
Speaker 6: Running with me foot, running with befoot, running with me
Speaker 6: good yet, running with your foot, and running with before,
Speaker 6: we running with before yet all right.
Speaker 4: One time we were in the middle, lean up under fire, the.
Speaker 6: Shot my love by flood.
Speaker 5: Out scouts for a week to cat shot.
Speaker 7: There were friends on side and shides down to next week.
Speaker 3: God, it's pretty funny live in there with big Boot,
Speaker 3: you know, running west before, running red before running redy butt, Yeah,
Speaker 3: running with the good, running rent the boot, running with.
Speaker 7: Me butt Yeah, running with Regoot, running.
Speaker 6: With the butt, running with befo, Yeah, running here refoot,
Speaker 6: running with befot, running in before Yeah, alright, all ride,
Speaker 6: running with me food Yeah, running with stre Foot Yeah.
Speaker 6: Running with Stree good Yeah. Running with Breick one Yeah