PANEL: Halloween Horror Nights at Spooky Empire

WEBVTT

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Halloween Horrnites revealed details on stage at
Spooky Empire that's coming up on today's show.

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Welcome to the show. I'm Philip
on the ah N Show. We

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bring you the news and information you
need to prepare for Halloween. This show

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is just one small part of what
we do, and the best place to

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find everything is in our free weekly
industry newsletter. Check the link for that

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at our website or in the show
notes. Okay. The creative team for

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Halloween Hornites at Universal Orlando Resort took
the stage a last weekend at a Spooky

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Empire to discuss some details about this
year's event. Of course, not everything,

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because they never do it that way, but they did tease a few

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things and go into more detail about
one of the original houses that they announced

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there. Today we're playing that entire
panel for you, and if you want

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to watch a video version of the
panel, we have a link in our

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show notes provided by Kevin heinknek Okay, here we go in three two one.

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How need a Mordonze panel underway?
I just want to kindly ask that

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you please do not live stream this
event. This is special for your us

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here this weekend at Spooky Empire,
and before we get things under way,

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I'm going to hand the things off. He is the assistant director of Entertainment

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Production. Let's get clown, Let's
getty. Oh my dann shit, Well

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night, Welcome to the Halloween Hornized
panel. Everybody, We're incredibly excited to

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be here. I'm hoping you're all
excited to be here as well as k

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Cade said. My name is Dan
Shaw, and I am the assistant director

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of Entertainment Production, and I've been
a producer. I'm Halloween Horonized for so

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many years now and NHT ten has
been a part of my life for almost

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twenty years. And I'm just so
incredibly excited to introduce you to some of

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my colleagues that I get to work
with all the time, and to really

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take you on behind the scenes look
at how we design, develop and produce

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h ten. Is that sound like
something you want to hear about? That

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gonna be pret three you. Let's
give a more round of blots for all

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the rest of our analysts. Have
them come on out here. Paddy Brown,

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Well, well let's kill that again. Collines been round of the box

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for everybody, all right, So
we're gonna take about thirty minutes or so

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here to just kind of talk you
through, like I said, that behind

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the scenes look of how we design, develop and produce such an incredible event.

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And then we're gonna hopefully have a
little bit of time for a Q

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and A at the end and maybe
have a little surprise or two along the

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way. That sound great, right? It was sood. So we're gonna

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kick us off. We're gonna start
with Nicolette here, Niotte. Yeah,

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it's actually we're gonna do a quick
introduction. I think that's a good place

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to start. Let's start with Ramone
first, if you want to just tell

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us a little about yourself. Hey, everyone, how's it going. My

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name is Ramone. I am a
show director with the creative development team at

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Universal with Entertainment, and currently I'm
working on Halloween Horney's twenty twenty four,

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which we're all really excited about,
right, And they get to work with

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these awesome people on the daily,
So I'm very very fortunate. Hey everybody,

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I'm Nicolette Singer. I'm the producer
of Halloween Hornites from the Entertainment production

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team. Just like Dan love Halloween
Horenites. It's been my whole career that

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you know ever since I started at
Universal, I actually started as this character,

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so this is really full circle for
me and I'm really excited to be

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here. Hi, everybody, this
is super exciting. I'm Kelsey. I

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am the production manager for Halloween Horrnites
this year, so I work closely with

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Danna Nicolette and also very closely with
everyone up here. I'm one Euthenek.

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I'm a lighting designer and technical entertainment
been at Universal for thirteen years now,

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so I love Halloween or Nights.
It's a passion project. This is my

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first time is bookiemyer though, so
excited to be Hi, guys. I'm

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Patti Briswell. I'm a senior manager
with the Technical Entertainment Team. One of

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my co workers is Wendy Finnick.
I work with an amazing group of hundreds

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of technicians that make Halloween happen.
Managers and then designers like when do you

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help make sure that this is a
reality for you? Guys? Thank you.

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I'm Melissa Hill patrick Field, scenic
producer for Halloween Ortonites, and I'm

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fortunate enough to get to work with
some of the most creative people on the

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planet. Been at universals just sixteen
years, a lot of wild and fun

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stuff and looking forward to seeing some
more wild and fun stuff coming out this

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year. Hey guys, I'm Nick
Collins. I'm a senior CD designer the

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Entertainment Department and been with the park
about thirteen years and worked on a lot

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of the houses. You guys have
probably gone through one hundred times, and

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I sweat a lot, but I'm
not a stick arts Nikola. We obviously

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starts really early on in the process. It takes us a long time really

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to get things going. Can you
talk us through how early these are?

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Yeah, so, believe it or
not, we've actually started on HHN twenty

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twenty five already. So it's about
a fifteen month process. And we sit

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down with our creative development team and
our technical entertainment team and we figure exactly

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how long we're going to need to
concept all of that out, and then

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how much time we're going to need
our urn to figure out the how to

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bring that all to life. And
we can't really do that until our lovely

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friends over here in a creative development
starts to concept those things. That's really

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the first step. So I'll pass
it over to Ramon to not through that.

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Yeah, Vermone, I think that'd
be a great thing. So if

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you can talk us through that concept
phase really where we have an idea,

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we all have an idea of what
we want to do, but you start

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to flesh out what that loves.
The process is so collaborative. It usually

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starts in one big room with like
twenty to thirty people all coming together throwing

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ideas on the board to figure out
what concepts we want to move forward with.

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Right, they're show and rankers in
that room, and they're seeing designers,

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costume designers, a whole myriad of
people who come together to come up

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with ideas to see what we can
move forward with. Once we design what

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concepts we want to move forward with, then a show to writer and a

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designer are assigned to that hunted house, for example, and then from there

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they meet and start to flesh out
the scene by scene, what are the

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environments we're looking at, what are
some cool scares we can do? And

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then from there the thing that just
kind of grows and grows and rows,

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and we get to a point where
we can then start passing stuff off to

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our costume, makeup designers, lighting
designers to start to bring all of those

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elements to life. So it starts
with the spark of an idea again,

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people throwing things on the board,
see what we gravitate towards, and then

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we pick our concepts, move forward
and then fleshed out the rest of it

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from there. No, that's fantastic. And speaking of flighting designers, we

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happen to have one here on the
panel. Needs so in this early concept

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phase, obviously, as Ramon said, some of the tech designers are also

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coming up work. Can you talk
us through what that looks like and how

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you guys are integrated into a process. Sure, that's one of my favorite

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parts of the process is we're given
the environment, we're given certain asks,

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but we're able to add our layer. That's when like all these tech layers

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start getting added and oh, it
would be cool if we could do this.

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So what if we, you know, created this thing over here.

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And then the collaboration kind of starts
to grow and grow and grow, and

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we all kind of bounce off of
each other. So we also, you

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know you've been there, you know
your your path is. We like it

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to be nice and cozy, so
it's super scary. We all have to

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figure out how do we all co
exist in here? How are we delivering

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the scares, making it look cool, making it interesting, but keeping it

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immersive where you're not focused on the
mechanics of things. You're still in the

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vibe of the house, but you're
also entertained and then so part of that

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design too. Again, obviously the
tech design is starting to be fleshed out

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nick the scene design as well.
Obviously at this point it's starting to be

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clashed out, and you're in as
a scenic designer, you're also in some

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of those early concept conversations. Can
you talk us through and what it looks

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like on your end? Sure,
After we finish the creative development, we

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go we kind of incubate for a
little bit of all the ideas that we've

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talked about. All the ideas that
we've talked about, we'll go. We'll

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do research period style. If there's
an IP which is an intellectual property,

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whether it be a movie or a
film or a book, we'll do research

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with that video game, and then
we'll start doing sketches. We'll work with

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our other designers to find out other
things that we need to accommodate, like

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you know, putting speakers in a
room so that you don't see them.

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Things like that, talking about color
palettes, all the all the things you

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hear but when you hear design.
But then one of the cool things that

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we do is we lay out the
houses in a program called sketch Up,

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which is a three D modeling program. And we've recently, maybe in the

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last three years or so, thanks
to one of our designers, deal in

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Cola I think is here today kind
of got has turned on to using a

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little more technology, and we're using
metaquest virtual reality glasses like this Oculus.

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It's so cool because we can walk
through the haunted house months before we ever

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see it. We can we can
physically walk through look at every scare.

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And the cool thing about that is
it really helps us design smarter because when

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we walk through, if you turn
around and you're in seeing three, you're

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like, oh, no, I
didn't know I was going to see part

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of scene seven over there. So
it's a way for us to kind of

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do checks and balances and really informs
how we flash out the design that we'd

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give the best product for you guys. Yeah, and that's a that's a

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great question maybe for Ramon as as
a show director, as we're doing some

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of that previ previs and especially getting
to leverage some of these technologies like VR

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from from a concept of scares,
like what are what are some of the

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things you learn early on in that
process from a scare standpoint? Sure,

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yeah, Nick said, getting to
walk through the actual model and see the

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scares that you conceptualize months prior to
right, there might be certain scares where

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you're like, in my head,
I feel like this is going to be

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super super effective, but when you
walk through the model, you're like,

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actually, the way we kind of
turn that corner gives the scare away a

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little bit. Let's revisit how we
design the scene of the scare. So

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that's the benefit of programs like that
is that it can kind of tell us

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and show us what might work and
might what might not work as well as

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we hoped. And it's also really
fun to mess with people when they have

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a VR headset on. Really fun
awesome. So so Nicolette, we at

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this point in the process, we've
we've done some some conceptual work. We

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know what the concept of the house
is being done design work, We know

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what the scenic design ideas are,
what the tech design ideas are and so

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we know what it is that we're
trying to accoulish. Right as the producer

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of the events, one of the
things you have to work on is figuring

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out that how we are going to
achieve that. So what does that look

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like from your perspective at this point
in the process. Yeah, it's a

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contagued collaboration that everybody's talking about up
here. Truly, these are the experts

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and what they do, So it's
my responsibility to kind of keep that communication

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flowing. Okay, we've got this
really cool idea, it's exciting. Let's

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take it past that exciting point and
make it reality. A really good example

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I could give is who remembers dueling
jagons to choose their faith? Super exciting,

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how super cool concept. We all
saw it and we're like, whoa,

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this is awesome. We're going to
bring this retired attraction back to life

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in a spooky way. But then
we all took a moment and paused,

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and we were like dragons in a
haunted house. We figure that out and

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that took months of you know,
collaboration and conversation. You know, what

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materials are we using, How are
we going to accomplish the technical elements that

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need to go inside of that,
what material doesn't need to be made of,

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how do people get up there?
How do we still make it scary?

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So a lot of that is just
collaboration across here and then figuring out

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those really outside of the box things. That's kind of how I look at

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my role to support these people.
We have these really creative ideas. I

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want to take that off their plate
and clear the road for them so that

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we can truly make it happen and
continue to hopefully impress all of you.

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So I'm gonna look at you,
Melissa at this point as kind of the

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keeper of a lot of those things, at least on the scenic design end.

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What does that process look like for
you? As as all of the

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design teams are just starting to kick
out all of these ideas and drawings.

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It's pretty wild, you know.
I don't know if anyone wants ever ordered

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furniture online and it came in a
really small box with some really big instructions.

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It's kind of like that, but
times of thousand. So we did

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know hundreds and hundreds of pages of
detailed drawings that take these huge ideas and

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quantify those into two dimensional building instructions, and then we hand those to a

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bunch of artists and now we take
something two dimensional and turn it into something

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three dimensional, which is quite amazing. But we start with quite a few

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palets of lumber and then next thing
you know, we have amaze and the

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next thing you know, we have
a dead man's pier or carnival graveyard or

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some kind of crazy thing that certainly
didn't. It's much bigger than the box

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that it came in, and we
often have a lot of extra pieces left

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over and that we still can't figure
out where they go. I thought you

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were going to say that we started
with all the palettes of lumber and then

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it became all of the drawings that
we cut the other that's a different pressure.

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That's awesome. Sure, yeah,
So sticking with this same idea of

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Patty, similar question for you on
the tech design end of things, because

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the technical designers are continuing to generate
drawings and models anything like that, So

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what does it look like from the
tech design end of things. So we

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have been really working hard to integrate
our tech designers into that process much sooner

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so that they can work with people
like Nick and make sure that we are

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able to integrate those ideas and at
the appropriate times, and we're not sitting

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there looking at this giant facade and
going ooh, how do we do that?

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Now? You know, we are
working at lightning speed, and the

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amounts of collaboration and on the front
end, all the things that have to

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happen because we might only have literally
two hours to get something installed, especially

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if it's in the streets, and
we have daytime guests coming in the next

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day, So it's an immense amount
of work that goes in on the front

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end, and that design and collaboration
piece so that we can then produce all

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this paperwork so that our management team
and our technicians can start pulling all that

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together to make that a reality.
Awesome, Melissa, at this point,

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we're really, like you said,
we're starting to move into the build,

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right. We have our designs,
we have our plan from the production and

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we're starting to move into the build. And one of the things that you're

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uniquely responsible for as the scenic field
producer is to keep our vendors on task,

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but also to make sure that what
they're building is achieving our original design

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intent. So can you talk us
through what it is you do out in

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the field to keep things moving in
that direction. It certainly challenge, you

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know, as you guys know,
you can't really quantify art. And one

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of my favorite lines of a production
designer told me a long time ago when

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he was being rushed and says,
art doesn't come out of a can.

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He just has to evolve. So
really, we let the artists do what

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they do. If we feel that
we're starting to back up, we kind

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of choose our battles. You know, you guys walk through as a guest,

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you have a certain facing views,
so we want to give you the

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big spots, the things, the
hero moments, and then we'll fill in

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the rest later. But it's really
it's quite a challenge because you know,

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nothing ever assembles quite the same as
you hope it will. Plan A is

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a mythical creature that I've never encountered. I hope to one day. So

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yeah, we just do the best
we can to make it come out as

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well as we can. But on
time, Nicolette gets really happy when we

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do that. And meanwhile Nicolette is
generating, helping generate plane to BC,

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you know, all the way to
Z. So similar question for you Nicolette,

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as we're as we're moving through this
this part of the process with the

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build and and again trying to keep
the vendors moving in the same direction and

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all really all of our tea you've
been in the same direction to to achieve

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that creative intent. What does it
look like from the production and the things

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as far as trying to keep everything
moving in the same direction. Yeah,

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it's it's it's a lot of spinning
plates right and making sure that they keep

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spinning in some way, shape or
form. I truly look at us as

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a resource and a support system for
the group that's out there. Melissa is

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obviously the expert of what's on those
pages, and she'll collaborate with us and

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talk to us about how that's going. We'll go out and support her in

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those conversations with vendors. We'll all
work collaboratively with the technical entertainment team who

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comes right behind those vendors to figure
out how we can come up with some

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creative solutions to make sure that everybody
can get what they need and stay on

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task and get to that finish line
so that we can put out a product

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that we want to put out that
we're really proud of on time, and

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then you have Kelsey there next you
trying to catch all the places they're starting

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to fall and put them back up
on feties Florida. It's right, that's

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right. Kelsey is really the true
owner of that process, and I try

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to support her as best as I
can. And some of those things I've

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become those bigger like how tos because
I'm a little more removed than Kelsey is.

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I try to offer that guidance,
but Kelsey's really the owner of the

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piece. So Kelsey, during this
part of the process, again, we

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have some unique challenges that come up, So it's one of the things,

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one of the parts that you're responsible
for is really helping come up with various

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solutions to those problems. Right,
whenever something comes up, everyone turns to

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production and says, what do we
do? You know, and you're really

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at the front line of that.
So what's the process from the production end

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of things when when those do come
up, when we when we have to

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come up with on the spot.
Yeah. So really, again, I

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couldn't do any of this without all
of the incredible people up here and our

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wonderful teams that we work with,
our partners, so a lot of it

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is just communicating with everybody, So
I'm trying to keep track of where we're

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at and if something's being delayed or
if we're needing to adjust a schedule.

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That affects everybody, right the schedules, all of the schedules we do are

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like puzzles and it's like a domino
effect. So a lot of it is,

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you know, getting meetings together and
trying to find the little gaps where

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everybody's available during all of our busy
schedules and just trying to come up with

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solutions. And like Niko Lett mentioned
already, our team is really really there

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like to provide that support and be
that resource and make sure that things are

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getting done. But the experts are
the ones who we have to invite to

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those meetings to you know, see
what everybody's ideas are, to make sure

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that we say on the on the
right track awesome. So so at this

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point, as we're moving again through
the process, we're obviously still in the

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build phase what we call the build
phase. But but really at this point,

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if we're working through this, the
construction is done, the scenic is

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done, the decor has gone in
our lovely to core teams have added their

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their layers, which really brings everything
to life. You see Melissa year in

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a month. We love our to
core teams. They're awesome. They absolutely

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are looking at the technical end,
which is just the next layer that goes

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in wheny can you talk us through
what it looks like to to to bring

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all of those elements together and one
of the unique parts you're responsible for and

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the entire tax team really is responsible
for making sure everything works and is delivering

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on the creative intent. What does
that look like from here? So it's

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a very symbiotic process. As Kelsey
and Nikola were saying, we have to

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be in communication with each other all
the time. Where are you at on

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this process? What are you waiting
for? What do you need? And

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we're all helping each other get what
we need to keep. It's really like

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a train. Once a train leaves
the station, there's no stopping it,

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right like once the first construction starts
in the first house, that thing,

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that piece moves on and then scene
it and then lighting where lass So we're

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kind of where the last car and
the train. It's a really cool thing.

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I think the paperwork that gets generated
in the beginning It might sound boring,

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but it's really crucial because we have
to be organized. I have to

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know that there's a speaker going there
so that I don't put a light there,

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or you know, we have to
know that there's an effects guy going

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here, and there are safety measures
that have to be taken. So everything

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has to be accounted for so that
we can get in there and do it

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once correctly, hopefully the first time, and not cause any delays. So

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after after we're done, then we
start doing reviews, which is I really

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love it because now the collaboration happens
in the three D environment where we can

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really look at, oh my gosh, we made this thing and here it

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is, and then it's like,
how is it working? Like I mean,

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seeing it come together is I think
for all of us really is the

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best part, right, Yeah,
and it's it's incredible when we're able to

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do that. I still want to
I want to stick on the topic of

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the technical insults and the question for
for Petty. We're we're talking about a

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lot of different layers that go in, especially on the technical and things.

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Can you talk about some of the
other technical layers as well at this point?

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So sure, when we talk tech. You know, most of you

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guys know that your video, your
lightning, audio effects, show control,

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00:22:04.359 --> 00:22:07.960
you know, all of that's coming
together, right, But we also have

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some technical aspects that we lean on
other partners within Universal to help us out

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with. You know, whether it's
an engineering piece or even our attractions partners.

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You know, what is it that
we're doing from a technical perspective,

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that is in meeting the parameters that
those teams know or write by our guests.

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So as we work through our process, and I will say I think

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over the past five years, we've
gotten really good partnerships with like our EHS

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teams and things like that to really
make sure that you guys have an uninterrupted

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experience. And it really has been
an amazing process to watch. And I

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think that you know, those collaborations
as they build, it only helps us

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be able to deliver bigger and better
things to you guys because we know that

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we can do it safely. Right. So those are some of those like

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technical aspects that maybe we don't think
of so much, and it might be

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a little a little on the boring
side for some people, but it's because

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of those collaborations that we're able to
really amplify on the on the tech side,

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Well, we're really going through too
and remote maybe you can speak to

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this a little bit. We're really
going through as we're as we're building things

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that we're developing things and learning what
works and what doesn't work and trying to

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catalog that for all of ourselves.
We know, Okay, we're working on

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twenty twenty five. This is working
really great. Maybe use this in twenty

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twenty five if I can. He
talks through Roman a little bit about that

336
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what that looks like, because I
know we have some some go to things

337
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that we use and things we know
that we're what does that look like?

338
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Yeah, Oftentimes the things that you
think are going to go one way based

339
00:23:48.279 --> 00:23:52.480
off previous experiences in Halleen Hornet's always
go in a different way. Right,

340
00:23:52.519 --> 00:23:55.960
So you think that, you know, we do learn from our past experiences,

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but the event is so unpredictable in
that way, right, And I

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think that's why we always say that
for creatives working on an event like how

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we ornates, the key thing that
you have to have is flexibility because things

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are always in flux and changing on
a day to day process, right.

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So I think having that flexibility understanding
that the thing that you thought would go

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in this way might not go in
that way, and then when you realize

347
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it doesn't, being able to shift
gears right. So having that flexibility and

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being able to lean on our partners
to help us make the product the best

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that it can be, I think
is an essential component. Yeah, so

350
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what you touched on it briefly,
But at this point in the process,

351
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we're looking at reviews and really trying
to make sure that what we are seeing

352
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in front of us right, what
we have put together is checking the box

353
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of the original creative intent. So
one of the first reviews that we have

354
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is a design review. Can you
talk us through that a little bit?

355
00:24:49.400 --> 00:24:53.880
Yeah? I love the design review. So show directors there, scenic designer,

356
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lighting designer, audio designer, effects
designer, I mean, everybody is

357
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there, a designer to court teams. We're all looking at everything. Finally

358
00:25:03.640 --> 00:25:07.799
in one place, we're walking through
in show conditions and you know what's working.

359
00:25:07.839 --> 00:25:10.920
Does it need to be bright or
does it mean loud or does it

360
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need to be scarier? Do we
need to move this actor over here?

361
00:25:15.279 --> 00:25:18.920
Like it's really it's really fun to
get to kind of judge it in person.

362
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You know, it's it's so much
better than just doing it on a

363
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piece of paper or computer. And
then we bring in people who are kind

364
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of outside of our team and they
can experience it and we can see their

365
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reactions too, and like, oh, well, you know, to remote's

366
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point where you have to be flexible, you have to be ready to turn

367
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on a dime. Things change quickly. But sometimes things work out in ways

368
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we didn't even expect, like better, and it's like, wow, that

369
00:25:42.799 --> 00:25:47.039
just happened. Cool, let's do
that again, you know. That's like

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when that happens, it's I think
there are so many times where where each

371
00:25:51.799 --> 00:25:56.319
of us have gone into a design
review or a tech review or what have

372
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you, and sometimes we have just
an idea in our minds, like it's

373
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you know, this is going to
be what it's going to be, and

374
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then we walk through I'm like,
oh my gosh, it's so much different

375
00:26:04.400 --> 00:26:08.319
and so much better than what we
even thought it was going to be on

376
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paper. Those are the great moments
that I think we we all enjoy.

377
00:26:12.200 --> 00:26:17.720
Yeah, so so seeking with the
same theme, Petty, we have a

378
00:26:17.839 --> 00:26:19.519
we have a design review, but
then we have a tech review as well,

379
00:26:21.119 --> 00:26:25.640
where we're going through and trying to
make sure again checking that box that

380
00:26:26.200 --> 00:26:29.559
does it deliver around the technical and
you talk through that a little bit and

381
00:26:29.759 --> 00:26:33.799
some of the things we're looking for
sure. So as we walk through and

382
00:26:33.039 --> 00:26:37.119
we're looking at all these you know, technical elements coming together, you know,

383
00:26:37.200 --> 00:26:41.240
for the for the most part,
up until that point, a lot

384
00:26:41.240 --> 00:26:44.960
of us have only seen this one
element going or that one element going.

385
00:26:45.720 --> 00:26:49.000
So to Wendy's point, when you
see it all come together. We bring

386
00:26:49.039 --> 00:26:53.599
along a team of a team with
us too, that are they're all looking

387
00:26:53.640 --> 00:26:57.119
through a different lens, right,
they all bring something different to the table.

388
00:26:57.519 --> 00:27:03.440
They've all had different experiences, different
backgrounds, and that's one thing that's

389
00:27:03.480 --> 00:27:07.799
really unique to our team because of
all those different backgrounds, all those different

390
00:27:07.880 --> 00:27:11.079
viewpoints when they walk through there.
Even though I've walked through it fifty times,

391
00:27:11.079 --> 00:27:14.319
at this point, I'm like,
oh my god, yeah, you're

392
00:27:14.400 --> 00:27:18.160
right, totally didn't think about that
when but how could I have missed it?

393
00:27:18.920 --> 00:27:23.039
And it truly does take that many
times of walking through and making sure

394
00:27:23.119 --> 00:27:29.240
that you know, I don't want
to say that we've become jaded or anything

395
00:27:29.279 --> 00:27:32.079
like that, but it's like anything
else, you know, you drive down

396
00:27:32.079 --> 00:27:34.799
I four every day going to work, it starts to become muscle memory.

397
00:27:34.880 --> 00:27:40.039
Right, So, as we're going
through and doing all of these installs and

398
00:27:40.039 --> 00:27:42.519
all that kind of stuff, like
we're passing by stuff and not even realizing

399
00:27:42.559 --> 00:27:48.160
that the core is now put in
an immense amount of items and so now

400
00:27:48.160 --> 00:27:49.480
we need to go back and take
a look at that and see if we

401
00:27:49.519 --> 00:27:52.519
can make sure that we're highlighting that
so that you get to experience it.

402
00:27:53.559 --> 00:27:59.440
So, yeah, those tech reviews, that's really where we start to get

403
00:27:59.480 --> 00:28:03.599
into the nut and bolts of is
this all coming together? Is this is

404
00:28:03.640 --> 00:28:07.359
there something that we can do to
enhance the guest experience? And also from

405
00:28:07.359 --> 00:28:12.319
an operational perspective, that's something that
maybe you don't think of when you're walking

406
00:28:12.359 --> 00:28:18.559
through, but I mean think about
the immense amount of people and hours and

407
00:28:18.720 --> 00:28:23.319
days that these effects are happening,
that these triggers are going off. Is

408
00:28:23.359 --> 00:28:27.160
it going to work the entire time? That's huge. It's a lot of

409
00:28:27.200 --> 00:28:32.000
abuse on this tech gear and that's
one of those things that we're also trying

410
00:28:32.000 --> 00:28:37.680
to calculate as we do these installs
in these tech reviews. And it's really

411
00:28:37.680 --> 00:28:41.880
great at this point because we're,
like we said, we're really starting to

412
00:28:41.240 --> 00:28:45.440
see it come together and this really
at this point, once we're hitting these

413
00:28:45.480 --> 00:28:49.359
design reviews and tech reviews, it's
ninety five percent exactly what you, as

414
00:28:49.359 --> 00:28:53.480
our guests would see, which is
a great Again, it's great. It's

415
00:28:53.480 --> 00:28:56.400
great to be able to walk through
that and catalog some of those moments of

416
00:28:56.480 --> 00:29:00.440
life. This is working so much
better than we thought. Going to use

417
00:29:00.440 --> 00:29:04.640
it again and having those moments is
fantastic. But at this point, the

418
00:29:06.039 --> 00:29:10.319
one crucial element that we're missing,
of course, are our scare actors.

419
00:29:10.599 --> 00:29:15.119
Right, So, as we're going
through this process, really, as we're

420
00:29:15.440 --> 00:29:18.240
coming up on the tail end of
the process, Kelse, I'm going to

421
00:29:18.319 --> 00:29:22.119
look at you because, like we
said a little bit, you're responsible for

422
00:29:22.599 --> 00:29:27.319
overseeing this process, the rehearsal process, getting all of our hundreds of performers

423
00:29:27.319 --> 00:29:30.759
rehearsed and ready to go for this
event. Can you talk to through a

424
00:29:30.799 --> 00:29:36.160
little bit about what that choreography looks
like and just bringing all of that together

425
00:29:36.200 --> 00:29:38.759
in such a short amount of time. Yeah, absolutely so. I mean

426
00:29:38.799 --> 00:29:42.319
that's that's when it gets super exciting, right, because we're having all these

427
00:29:42.319 --> 00:29:47.599
performers start to come in for the
rehearsal process, and everybody's finding out maybe

428
00:29:47.599 --> 00:29:51.359
where you're at, or people who
have been there previous years, a lot

429
00:29:51.359 --> 00:29:53.759
of better performers. This is a
really exciting time when we're like, Okay,

430
00:29:53.799 --> 00:30:00.519
this thing's about to open, but
rewinding months before that. Just like

431
00:30:00.759 --> 00:30:04.039
I already mentioned with many things that
we do in this process, the rehearsal

432
00:30:04.039 --> 00:30:11.119
schedule is built months before rehearsals actually
begin, and then we start casting.

433
00:30:11.119 --> 00:30:14.759
When I say we, not me, but we start casting and then those

434
00:30:14.839 --> 00:30:18.640
hundreds and hundreds of performers are being
cast and then hand it over to our

435
00:30:18.680 --> 00:30:25.079
team. So throughout that process,
we then bring on our seasonal leadership team.

436
00:30:25.839 --> 00:30:27.440
They find out, you know,
what areas they will be managing for

437
00:30:27.519 --> 00:30:32.839
the year, and then we throughout
the process, we'll tweak that rehearsal schedule

438
00:30:32.880 --> 00:30:36.519
as needed, you know, based
on our partner's input as well. But

439
00:30:36.640 --> 00:30:40.359
then we gear up for rehearsals.
We have our leadership team, they're reaching

440
00:30:40.400 --> 00:30:44.000
out to the performers, they're making
sure they're aware of the dates, getting

441
00:30:44.000 --> 00:30:49.119
them scheduled. Oftentimes, when a
rehearsal actually begins, we may have multiple

442
00:30:49.160 --> 00:30:53.599
groups there on the same night,
so it's a lot of organizing and making

443
00:30:53.599 --> 00:30:57.799
sure that things are being done,
and we're using that minimal time that we

444
00:30:57.880 --> 00:31:03.480
have to make sure everyone's ready when
the operation actually begins. So well,

445
00:31:03.519 --> 00:31:06.480
it's an incredible dance, right,
Like if you ever get a chance,

446
00:31:06.480 --> 00:31:08.519
I mean, and I see some
scareacters out in the audience is getting around

447
00:31:08.559 --> 00:31:15.200
and blots for them to love the
arc and it's such a rediate because if

448
00:31:15.200 --> 00:31:19.599
you've ever seen it, just seeing
our wonderful consuming and makeup teams getting everybody

449
00:31:19.640 --> 00:31:26.039
fit into their costumes and handing it
off to our show direction team. Ramon,

450
00:31:26.079 --> 00:31:29.880
can you talk us through a little
bit about the rehearsal process from the

451
00:31:29.920 --> 00:31:32.559
show direction and what you're looking for
and trying to achieve. Yeah, the

452
00:31:32.599 --> 00:31:36.319
rehearsal process for me is my favorite
part of all of it. Right,

453
00:31:36.640 --> 00:31:41.079
Like Kelsey said, it's not until
our scaracters come in and actually try on

454
00:31:41.119 --> 00:31:44.519
the costume, wear the makeup and
getting the bootholes to do their scares that

455
00:31:44.559 --> 00:31:47.759
the haunted houses in the event comes
to life, right, And we as

456
00:31:47.759 --> 00:31:51.400
show directors feed off of their energy
because they come in so excited and that

457
00:31:51.400 --> 00:31:53.880
boosts our excitement in turn. Right, So it's such a cool process.

458
00:31:53.880 --> 00:31:59.160
It's a very collaborative process. We
have a team of performance coordinators that are

459
00:31:59.200 --> 00:32:01.039
extensions of the show direction to Eve, and they work hand in hand with

460
00:32:01.079 --> 00:32:06.000
the scar acters to block and work
through what the scares look like right.

461
00:32:06.480 --> 00:32:08.480
And again, we work with a
lot of veteran scare actors, so there's

462
00:32:08.519 --> 00:32:13.519
a lot of collaboration there and kind
of taking their feedback and seeing what they

463
00:32:13.559 --> 00:32:15.359
feel works and what you know doesn't
work right, and just making that a

464
00:32:15.400 --> 00:32:19.680
fluid process. So it's so cool, it's super collaborative. And again,

465
00:32:19.759 --> 00:32:22.559
it's like that final march to the
finish line right before we open, right,

466
00:32:22.559 --> 00:32:24.720
it's it's my it's my favorite part
of the plot, and it's where

467
00:32:24.759 --> 00:32:28.640
we put a bow on it and
say this is ready to go for our

468
00:32:28.720 --> 00:32:34.000
guests to see. And then it's
again that's that's just another level of excitement

469
00:32:34.039 --> 00:32:37.440
for all of us. It's done, it's ready, let's see what they

470
00:32:37.480 --> 00:32:40.680
say, and it's a great part. So that is that is really our

471
00:32:40.799 --> 00:32:47.640
process of designing, developing and producing
these these houses, and the same process

472
00:32:47.680 --> 00:32:52.920
goes for our scare zones and our
shows. We follow the exact same process

473
00:32:52.920 --> 00:32:58.160
for everything we do and and so
that's that's the process. What I wanted

474
00:32:58.200 --> 00:33:00.599
to do before we turn it over
to a little bit of Q and A

475
00:33:01.720 --> 00:33:06.440
is we all were talking and we
wanted to acknowledge the fact that we're just

476
00:33:07.000 --> 00:33:12.160
a small fraction of the amazing team
that puts HHN together. So I would

477
00:33:12.200 --> 00:33:15.039
love to just get a round of
applause going for all of the other teams

478
00:33:15.079 --> 00:33:22.119
to get really defends together, for
all the whole audience stories, hard type

479
00:33:22.119 --> 00:33:25.480
of teams, under your audio video
effects, all of our intimate team,

480
00:33:25.880 --> 00:33:30.000
all of our designers, all of
our short production and then of course our

481
00:33:30.079 --> 00:33:34.960
performers. So then it's starting to
beziers of people that gets the company event

482
00:33:35.559 --> 00:33:39.480
to make this ding events happen.
So we're we're incredibly excited to just share

483
00:33:39.559 --> 00:33:45.200
this with with everybody and and to
really rely on each other. As we

484
00:33:45.240 --> 00:33:50.160
said, it's an incredibly collaborative process
beginning to end. So we're going to

485
00:33:50.240 --> 00:33:53.119
open it up to a little bit
of question of Q and A. So

486
00:33:53.200 --> 00:33:57.400
I think what we talked about is
anybody that has a question, will have

487
00:33:57.519 --> 00:34:01.400
them come around to the side here
the stage, and then we'll have the

488
00:34:01.480 --> 00:34:06.160
mask ask the question of me and
all we'll get some answers going, so

489
00:34:06.559 --> 00:34:15.039
we'll give a minute for anybody with
questions to come on up. Try to

490
00:34:15.039 --> 00:34:22.920
come on that waste I think I
want turned around, right question. Yeah,

491
00:34:22.960 --> 00:34:27.880
that's a great question. So the
question is all of our houses are

492
00:34:28.039 --> 00:34:30.559
are filled with a lot of stuff, and where do we stored that head

493
00:34:30.639 --> 00:34:35.280
throughout the year. I'm gonna look
to Melissa on this one to help answer

494
00:34:35.840 --> 00:34:38.679
Dan. We need more space.
We do more space. We have an

495
00:34:38.679 --> 00:34:43.840
off site warehouse and you would be
amazed at all the things that are there.

496
00:34:43.880 --> 00:34:45.880
I don't think we even always know
everything that's in there. And it's

497
00:34:45.960 --> 00:34:49.840
like Christmas. Sometimes you go and
open a palette and you're like, oh,

498
00:34:49.960 --> 00:34:52.840
I remember that from this house fifteen
years ago. Let's use it a

499
00:34:52.880 --> 00:34:57.199
hand. It'll be fun. And
sometimes why is it still here? We

500
00:34:57.280 --> 00:35:00.400
can use it again. We all
always can use it again. Yeah,

501
00:35:00.639 --> 00:35:02.719
great question. First of all,
thank you guys so much for everything to

502
00:35:02.800 --> 00:35:08.360
do EXPAN is what's been the most
challenging rich house? Okay, it's a

503
00:35:08.360 --> 00:35:10.840
good question. So the question,
if you had didn't hear it, what's

504
00:35:10.880 --> 00:35:15.760
the most challenging original content house that
we've worked on before We're going to and

505
00:35:15.800 --> 00:35:21.519
take some one. Yeah, I
think for me personally, i'd say Fiautas,

506
00:35:21.559 --> 00:35:24.119
which we did a couple of years
ago, and the US say that

507
00:35:24.320 --> 00:35:29.320
as some challenges because we were trying
to take strides that we hadn't taken before.

508
00:35:29.400 --> 00:35:31.280
Right, Like we we cast a
full cast of Latino performers, so

509
00:35:31.440 --> 00:35:35.079
I had to work hand in hand
with those performers to make sure that the

510
00:35:35.159 --> 00:35:37.719
authenticity of that house was what we
wanted it to be because we were so

511
00:35:38.360 --> 00:35:42.760
proud of what we were presenting with
that haunted house, with it being what

512
00:35:42.840 --> 00:35:47.039
it was and what it represented to
So that process all of our houses kind

513
00:35:47.079 --> 00:35:51.519
of require quite a bit of attension, but in that particular instance, it

514
00:35:51.639 --> 00:35:53.119
was a it was a unique challenge
and we felt that it paid off.

515
00:35:53.199 --> 00:35:55.360
So I say, off the top
of the head then, and I think

516
00:35:55.360 --> 00:35:58.920
that's a great answer, because you
can you talk us through a little bit

517
00:35:58.960 --> 00:36:04.559
about how we really end to end
made sure that that authenticity carried. Can

518
00:36:04.599 --> 00:36:07.039
you talk through that a little bit? Yeah, I think it was all

519
00:36:07.119 --> 00:36:09.719
the teams that came together to make
sure that it was authentic from every standpoint.

520
00:36:10.559 --> 00:36:17.039
The entire management team were LATINX individuals. So from that standpoint, everybody

521
00:36:17.079 --> 00:36:21.079
who was working on it from a
production standpoint, we tried to make sure

522
00:36:21.079 --> 00:36:22.119
that it was authentic in that way
too, And again, like I said

523
00:36:22.119 --> 00:36:27.239
about casting, we made sure to
cast LATINX performers in those roles so that

524
00:36:27.320 --> 00:36:30.000
they could again bring those characters to
life in an authentic way. So we

525
00:36:30.119 --> 00:36:34.000
tried to look at it from every
different lens and every different angle to make

526
00:36:34.000 --> 00:36:37.480
sure that we were doing our due
diligence to prevent something that was diverse and

527
00:36:37.599 --> 00:36:40.159
cool. Love that we love the
challenges. It's a great question, what's

528
00:36:40.159 --> 00:36:45.039
the process of getting into the creative
aspect of things remote? You want to

529
00:36:45.079 --> 00:36:46.159
touch on it a little bit,
and maybe Nick as well. Yeah,

530
00:36:46.280 --> 00:36:51.840
totally. It's so funny because everybody
on the show direction team, we all

531
00:36:51.880 --> 00:36:55.480
have different pathways how we got to
where we are right, but the common

532
00:36:55.559 --> 00:36:59.480
thing that we all share is a
passion for the content and a passion for

533
00:36:59.559 --> 00:37:01.239
creating. So I would say,
try to figure out what it is that

534
00:37:01.320 --> 00:37:06.000
you like to do, whether it's
directing, writing, designing, constant design

535
00:37:06.039 --> 00:37:07.519
and makeup design, whatever it is
that you want to do specifically within the

536
00:37:07.599 --> 00:37:13.199
created level, find out what that
is and take tangible steps to move forward

537
00:37:13.239 --> 00:37:15.519
in that direction. Right. Again, a lot of us started as scaracters.

538
00:37:15.599 --> 00:37:20.400
I think everybody currently on the show
direction team started as performers at Universal,

539
00:37:20.679 --> 00:37:22.840
So that's an excellent gateway into the
universal level, right, So you

540
00:37:22.880 --> 00:37:27.480
can get your foot in the door
with things like scare acting for Halloween Cornet's

541
00:37:28.039 --> 00:37:30.199
Yeah, and then just find out
what it is you want to do and

542
00:37:30.320 --> 00:37:32.199
just take those tangible steps to get
you closer and closer with your goal.

543
00:37:32.760 --> 00:37:37.400
Awesome. And then another pathway,
of course, is in some of the

544
00:37:37.480 --> 00:37:40.320
other design elements, Nick, can
you talk us through that pathway? Sure,

545
00:37:40.719 --> 00:37:45.239
being able to communicate with a piece
of paper is fair amount. You

546
00:37:45.280 --> 00:37:47.639
don't have to know like all the
craziest software and things like that, but

547
00:37:47.840 --> 00:37:52.599
just being able to sketch on a
napkin is really helpful to be able to

548
00:37:52.639 --> 00:37:55.480
explain your ideas. A lot of
people come to us and say, oh,

549
00:37:55.519 --> 00:37:59.920
I'd love to design hunted houses and
say, well, what hunted houses

550
00:38:00.119 --> 00:38:01.079
be designed it? They're like none, And I'm like, oh, well,

551
00:38:01.360 --> 00:38:04.840
you have to start in some place. So even even big up a

552
00:38:04.880 --> 00:38:07.360
fake on a house and put it
together. And that's that's how some of

553
00:38:07.400 --> 00:38:10.639
our designers that currently are working with
us that started with us. They just

554
00:38:10.719 --> 00:38:15.079
had a passion. And if you
want to do exactly when we do,

555
00:38:15.199 --> 00:38:16.559
just look at what we do,
look at the content that we created,

556
00:38:16.599 --> 00:38:22.360
and think in those terms, but
don't put any specific things on a pedestal.

557
00:38:22.440 --> 00:38:24.360
You have to soak up a lot
of things and do a lot of

558
00:38:24.440 --> 00:38:29.440
research. There's no way you're gonna
know sorry, I'm not a tech guys.

559
00:38:30.679 --> 00:38:32.880
There's no way that you're gonna know
everything there is to know about,

560
00:38:34.039 --> 00:38:36.760
you know, certain architecture and things
like that. So you do a lot

561
00:38:36.840 --> 00:38:39.280
of research and soak up and just
learn everything you can about a little bit

562
00:38:39.360 --> 00:38:43.079
of everything, and it'll really serve
you well, especially when the creative an

563
00:38:43.280 --> 00:38:46.920
our favorite prop that we've used in
the house before. Let's see, I'm

564
00:38:46.920 --> 00:38:52.639
gonna look to what you maybe give
us, maybe what you'r thos. You

565
00:38:52.719 --> 00:38:55.679
know, there's so many good ones
it would be really hard to choose.

566
00:38:59.199 --> 00:39:01.559
It's gonna be a rare answer.
I'm a fan of the Pugers. Whenever

567
00:39:01.639 --> 00:39:08.400
we have I think it Billy is
that the name Billy? I don't remember,

568
00:39:08.719 --> 00:39:19.400
but the name though, you can
stand, yeah, yeah, thank

569
00:39:19.400 --> 00:39:27.039
you awesome. Anybody else going to
let you go sure, I'm actually going

570
00:39:27.079 --> 00:39:30.800
to go to Chublicbra because that was
my first project as a production manager and

571
00:39:30.960 --> 00:39:35.800
figuring out how we can bring that
creature to life was really exciting. And

572
00:39:35.880 --> 00:39:39.280
then seeing it come on property and
exist in the space and really tell the

573
00:39:39.320 --> 00:39:44.079
story of the Chublicabra, which I
also grew up with, which was very

574
00:39:44.119 --> 00:39:46.440
exciting to me. So that's probably
mine. Yeah, the creatures that we

575
00:39:46.559 --> 00:39:52.599
do are incredibly challenging to get them
to work the way that we intend,

576
00:39:52.639 --> 00:39:57.280
but when we do, it's so
gratifying. I think for everybody everybody here,

577
00:39:57.480 --> 00:39:59.480
it's one of the best things that
we can when we can see them.

578
00:40:00.039 --> 00:40:01.679
I think we got time for one
more question. What advice would we

579
00:40:01.719 --> 00:40:07.239
give to a character for the first
time? Maybe Ramone and then Kelsey.

580
00:40:07.159 --> 00:40:13.599
So one of the top things that
we look for in our auditions is energy.

581
00:40:13.960 --> 00:40:16.039
We can feel your energy through your
video, through your in person audition,

582
00:40:16.280 --> 00:40:19.960
and we get to feel for your
personality and we can kind of start

583
00:40:20.000 --> 00:40:22.559
to figure out where we can place
you. That gives us a good idea

584
00:40:22.440 --> 00:40:25.480
of how you would perform as a
character. So I'd say kind of overall,

585
00:40:25.599 --> 00:40:29.679
energy and personality are two big things
that we look for from our people

586
00:40:29.719 --> 00:40:35.280
that are auditioned awesome else the D
I mean, I would say definitely mean

587
00:40:35.320 --> 00:40:38.880
heavily on our show direction team for
the casting process and then we take over

588
00:40:39.960 --> 00:40:51.199
after that. But I would say
availability too because I have to make any

589
00:40:51.239 --> 00:40:54.199
all right, I think we are
about at time for questions. We want

590
00:40:54.239 --> 00:41:01.119
to thank everybody for this incredible opportunity
to take away. I thought there was

591
00:41:01.159 --> 00:41:05.159
one more thing we wanted to talk
about. Did we have one more thing

592
00:41:05.199 --> 00:41:10.559
we had to talk about? Like, it's something we wanted to share with

593
00:41:10.679 --> 00:41:23.119
everyone? Yeah? Right, I
thought we had something to announce. That's

594
00:41:23.239 --> 00:41:31.960
right. We were gonna make the
first official announcement for Halle right right?

595
00:41:32.280 --> 00:41:38.079
Is that something you all want?
Without further adod, we are thrilled to

596
00:41:38.159 --> 00:41:44.559
announce our very first original content Haunted
House for Halloween, Hornet's thirty three,

597
00:41:45.559 --> 00:42:22.719
the sequel to a fan favorite Very
Man Tell three t Hell's Breaking Loose.

598
00:42:28.840 --> 00:42:31.920
That's right, We're going back to
the very driving for Slaughter Cinema too again,

599
00:42:32.000 --> 00:42:36.360
a sequel to a fan favorite,
Haunted House. We're so so excited

600
00:42:36.400 --> 00:42:39.320
to present you this house at Halloween
Cortin. It's thirty three We're exploring eight

601
00:42:39.519 --> 00:42:45.119
brand Newslaughter Cinema films in this house, one of which is Heavy Metal Health

602
00:42:45.159 --> 00:42:51.599
three D, which is where this
characters from. Well, what aside from

603
00:42:51.639 --> 00:42:53.880
the new stuff we're presenting, we're
also calling back to some fun things from

604
00:42:53.920 --> 00:42:58.800
the first Slaughter Cinema that you the
fans will will appreciate. For sure.

605
00:42:59.639 --> 00:43:02.119
Charles Great, Dylan cole Ath and
everybody who was involved in bringing this project

606
00:43:02.159 --> 00:43:07.599
to life pourts so much passion into
making Mishunted House everything you've wanted it to

607
00:43:07.719 --> 00:43:12.559
be for years, and we cannot
wait for you all to experience it only

608
00:43:12.840 --> 00:43:20.840
and Halloween hornit's thirty three. What
we want to maybe a shot were discoming.

609
00:43:20.880 --> 00:43:22.480
The Empire for Alping has made this
awesome announcement. This is the first

610
00:43:22.480 --> 00:43:27.079
time we've announced an original Haunted house
out of panels or we're super stoked about

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00:43:27.079 --> 00:43:32.440
that. But we are now officially
in announcement season right, so make sure

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to keep your eyes peeled on Halloween
Horneight's Orlando socials for future announcements. We'll

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00:43:37.440 --> 00:43:44.480
see you in the thought. Today's
episode was edited by me Philip Hernandez,

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00:43:44.599 --> 00:43:49.760
with post production by David Swope and
original music composed by Chris Thomas. Support

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00:43:49.840 --> 00:43:53.719
for today's episode comes from Gantum Lightning
hand Controls. Gantum eliminates attractions worldwide with

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00:43:53.840 --> 00:43:59.440
the world's smallest intelligent spotlights. From
Dark Hour to nether World, Super Mario

617
00:43:59.559 --> 00:44:04.360
Land to Hagrid's Bike. Gantum goes
where other fixtures can't. See what you're

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00:44:04.360 --> 00:44:07.480
missing With a free demo sign up
at gantum dot com slash demo. That's

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00:44:07.480 --> 00:44:13.519
scantum dot com slash demo. The
h a N Team includes Daryl Plunky,

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00:44:13.840 --> 00:44:19.239
Emily Luis Rua, Megan Spells,
Gavin Burns and Omniadventures. Until next Time,

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Stay Scary. This is a Haunted
Attraction Network production