Adam Savage Tours the Jim Henson Exhibition!

hey guys it's Adam from Testim I am at the Museum  of the moving image in Queens New York about to   take a tour through the Jim Henson exhibition  this is a brand-new part of their permanent   collection it's a permanent exhibition partially  funded by a crowdfunded Kickstarter campaign it   is a compendium of the life of artist innovator  filmmaker puppeteer and ultimately storyteller   Jim Henson I cannot wait to go through this  because there's one thing I'm sure of this   is about a lot more than just puppet hi Barbara  hi Anna thank you so much for meeting me today   thanks for coming right I can barely wait like my  crews been moving around making sure we can shoot   everywhere but I have kept my eyes from seeing so  are you yes please let's go let's have a look oh   man oh my gosh okay so I'm already like freaking  out this is Jim's actual headband for operating   Kermit that yeah so the puppeteers would wear  headband so that they that held a microphone   so theythey obviously needed their hands-free  to perform and that's when the Jim war often he   had several of them but that's the one that that  came to us so we're really lucky to have it know   I grew up looking at those shots from behind the  scenes and this is this is one of the real permits   yeah it's a Kermit from the 70s so that's so not  to you know destroy anybody's dream there were   several Kermit's of what many may be right that  many actually okay yeah they would you know took   a lot to sort of build them and make them right  yeah and sometimes ones were made that didn't fit   the pan quite right and they have to start again  so it was a very very personal process to create   the puppet that really had the you know the right  feel for the puppeteer and I if I remember reading   my reading correctly like a key part of Kermit's  head shape was created by Jim's hand exactly yeah   he had giant hands he had really big hands and  you know Jim you know the association between and   Jim and Kermit was very very close and you know  people sort of identified doing one to the other   I do yeah of course I think we all do it's really  natural and what Jim says is is that you know in   some ways it was sort of just a natural extension  of his hand there was very little between you know   Kermit and him it was just this little piece of  cloth because his hand basically was the face so   I have to ask like this an exhibit like this comes  in you're pulling pieces from all over the world   and you know I suppose repairing some things  and unpacking the history of these things and   figuring how they go but when Kermit comes in the  building was there like was that in a moment well   it was you know we museum received a donation from  Jim Henson's family of 2013 of about 500 objects   right so it included about 200 historic puppets  so a lot came in at once but obviously you know   Kermit's you know sort of unwrapping Kermit and  you know getting hims are ready for exhibition   was a particularly kind of amazing moment and you  know extraordinary process I can't imagine I mean   he's just he's is so much part of the like the  moral compass of my childhood is currently right   how many characters are there in the world that  have you know Kermit was sir born or built in 1955   essentially 50 yeah and still has that same kind  of resonance with people has like survived and you   know people kind of know him right despite Jim's  passing in 1990 and other puppeteers performing   him there's a there's a continuity a consistency  to his character that we feel like we know him   like almost as a as a human I had no idea Kermit  was that much older than me I thought he was boy   I really thought he was born with Sesame Street  but no yeah yeah I was one of the first puppets   that Jim made for his first television stories  a five-minute live show sometimes twice a day   starting in 1955 called salmon friends it was Worc  TV a local television and NBC affiliate in the DC   area Wow yeah Wow but it wasn't a frog yet Kermit  was like a serve a Glee amphibian creature he   was Kermit he was not Kermit the Frog so he serve  acquired the frog nests in the early sixties okay   so which I I don't this looks like I'm already  seeing an embarrassment of riches where do we go   from here well let's go this way let's talk about  Jim's early work for television so Ralph is the   first Muppets star right always think of Kermit  being the star yeah I didn't realize ruff was the   first yeah Ralph was created for Purina Dog Chow  commercial 1962 and then went on to star in the   Jimmy Dean show which was a nationally broadcast  variety show in the mid sixties that you know was   hugely popular and really was like almost like  a finishing school for Jim Wright because he had   to we go on the show and perform Ralph actually  with Frank Oz performing the right hand it was   the first puppet that Frank Oz and Jim Henson  performed together so that's that's really cool   but you know Jim learned from the comedy writers  on the Jimmy Dean show and you know those those   were guys that had their that had you know their  backgrounds in vaudeville and variety shows and   a lot of Jim sort of comedic Sensibility comes  from being an apprentice during those years yeah   just hurt being around that how amazing I didn't  realize ralph was such a lightning rod for yeah   it's Deb and this is so great you know we have  this sketch that that Jim made these I mean this   is one sketch but there's there's probably 12  or 15 pages of sketches of dogs that are just   a little bit different from each other and Don  Selene who is his master puppet builder would   look at these sketches these are very rough  sketches rough sketches and and and and take   what Don would call the essence of a character  that would be expressed in Jim sketch and make   these serve remarkably expressive puppets out of  them so they were an amazing pair also and we try   and the exhibition to sort of give shout outs  to the various classical exactly because they   you know it wasn't just gyms or you know standing  on a mountain you know on his own creating these   things it was this really really talented group  of collaborators and their commitment to the work   was the Western all and its really loyal talented  group of folks okay what's next what's next okay   John stone was one of the very first people that  Joan Ganz Cooney the sort of inventor of Sesame   Street turned to to help her you know come up  with an idea for what what Sesame Street would   be so John knew that Jim's work was amazing  it would be a perfect fit for Sesame Street   so John Stone brought Jim to Sesame Street in  it you know in in these sort of infant stage   of its development so Jim was not the inventor  as a summation joke but his puppets became sort   of you know intrinsic really idea yeah and  so how long was the development process of   figuring out the first few characters for Sesame  Street so Jews characters for Sesame Street were   sort of a mix of puppets that he had on hand  already that had certain appeared in other you   know in other productions and also characters  that he specifically built for the show so it   happened really quick I mean it was it was over  the course of a year like he came on board in   68 Sesame Street's on air in 1969 so Burton Ernie  he created for the show Cookie Monster it had it   you know cookie had already been an established  sort of cookie or food-eating or little object   eating character from from commercials and  from industrial films as well so cookie came   on in that way but Big Bird here and Oscar the  Grouch were built specifically for Sesame Street   for the street itself because the producers were  first first the idea was that the puppets would   only exist in their sort of interstitials right  run that the action on the street would just be   people but during focus groups the kids quickly  lost interest in the puppet list segments so they   knew they had to get the puppets on the street so  in order to do that in a seamless way that didn't   require like you know a baffle for the puppeteer  to go behind Jim created a walk-around which we   had walk around puppets in the past the Lajoie  dragons commercials that he made so you create   your walk-around puppet of Big Bird that could  just sort of exist you know without having to   hide behind anything and Oscar the Grouch that  could you know they you know the the trash can was   basically his thing that he'd go hide behind so  so then those two puppets or two became real part   of the street and at this point Kermit seems to  be fully formed he seems to yeah and full Kermit   the Frog with the eyes exactly what happened I  would say like from the mid sixties to the end of   the sixties Kermit kind of slowly yeah there were  some differences in the number of you know points   on his collar but essentially Kermit was Kermit  and he was you know part of Sesame Street in the   beginning and then kind of pulled back eventually  yeah so I'm looking at this standing in front of   a full-size big bird it's sort of shocking how  much larger his head is than I somehow expected   and I'm wondering if as you were loading these  pieces in was there a specific surprise we were   like oh wow I totally didn't realize that that  was like that I mean just the mass of Big Bird   is kind of amazing his tail goes really far back  so we you know we had to deal with things like   you know is the is the platform gonna be big  enough you know our ceiling tile off like this   is sort of the only part the elite space and the  gallery that we had that could really accommodate   Big Bird and this is Caroll Spinney right with  a right hand here in the left hand here exactly   yeah I mean the performance that he did really up  until I mean he really only just retired and he's   in his 80s the physical demands of performing this  so it he had to wear this harness over here this   was his original oh my gosh yes you get to wear  this harness over you know his chest so that he   could watch a monitor so you could watch himself  perform so he is actually also watching them on   it oh yeah otherwise how could he see right his  his eyes aren't up in the eyes and there's no   holes in the bird's body so this is a fed camera  signal exactly him so he could see what's going   on outside he could see where he's going right and  she's watching that he's performing the bird and   he's reading from a script' taped into the bird's  body what how do you do that I don't know how you   do that I roller skate often what yeah so I didn't  even I'm not even sure I have known in the longest   time that Big Bird had a big tail yeah so this  is a section we called the Muppets for obvious   reasons and we wanted to really make it feel  like a an explosion right we wanted two people   to understand that it was important without having  to say this is important so this this projection   of all 120 episodes of The Muppet Show playing at  once is the serve gesture that really communicates   that excitement and that's our significance  because the Muppet Show was a something that   Jim had wanted to you know get off the ground  since 1960s I was a project he was trying to   get going for the kid nine years and it came off  the ground in 1980 right 76 76 okay I thought it   was this is I mean this was my childhood yeah we  watched this every week as it came out I probably   watched every single one of these episodes three  or four times in my childhood. Yeah, they're   really really magical and still hold up. They're  just hilarious and charming and fun. And this   is also part of the improvisational aspect of the  troupe, like they were writing scripts every week   for this show and also developing new characters  every week at the same time so this shop is going   full-bore. Exactly. It's amazing. You know they  had to create sort of a company and operations   in England because amazingly enough none of the  US networks wanted the Muppet Show. Right. So Jim   wound up making two pilots for ABC thinking  that ABC was gonna pick it up, they didn't,   and then pitched it to CBS as a hilarious pitch  reel made for CBS, CBS said no thank you, but Lou   Grade in London really saw the potential of it and  Muppet Show ended up being produced in London for   the five years when it was made and because it  was produced for syndication it went worldwide   right away. Oh, OK. So it was almost more popular  in other countries at first than it was in the US.   I had no idea. I remember reading at some point  it was an extremely expensive show to produce. I   guess. I mean there was a lot to do, the guest  host and those logistics ... it took a lot of   people to put this show on so they had to build  a whole shop right in in London to be able to   you know to be able to make all this stuff happen  and yet you know still then you know the New York   office was still going and doing things so that  during the other end oh and of course shoot so   you know Jim and Frank and others would fly back  oh my god of course they're doing the Muppet Show   and Sesame Street at the same time I mean that was  an amazing thing for me that sort of clicked at   some point that the Jim and Frank especially how  busy they were doing so many different projects   just Sesame Street like what you know back to New  York and still be Burton Ernie you know like into   into the into the 80s Wow yeah wait so um I see  one of my favorites the sweetest chef who had   real hands well yes that's really interesting so  the Swedish Chef had real hands it was what is   called a live hand puppet like Ralph is also a  live hand puppet right and you know so it took   two puppeteers you monster as well exactly so the  so the main puppeteers right hand in the mouth   left hand in one of the hands and then a second  puppeteer doing the puppets right hand what was   different about the Swedish Chef is that because  he had so many things to manipulate and because   there was no fur covering his hands Jim and Frank  were funded together and it was Frank's hands in   both his two hands as him Jim doing the mouth  so here's this crazy picture that shows you all   the surf gymnastics of what they have to do  to make this puppet happen Wow then we have   the challenge in you know how do we exhibit the  Swedish Chef because there's no fart covering   it do we do we leave them empty that's kind of  weird it looks like they're amputated so Frank   Oz generously allowed us to cast yes my first  question that's the best that you're actually   using Frank's name and I that the distinction  that's what made me think these must be real   the real hands yes natural they don't they're the  Swedish Chef they're stretched in tort yeah it's   lovely too when you get up close to these when  you see how simple the construction is I mean how   how in innovatively they solve the problem this is  just mattress foam yeah as open-cell urethane flow   carved intricately and but this structure is very  simple yeah the design and the structures were you   know really really carefully thought through  I mean these weren't these weren't just people   sort of making cute things out of out of flashy  fabrics the you know that yeah the builders that   designers really really come from this mystery  sort of amazing places where they had these   these fantastic skills actually did a great story  with Dave goals who you know achieve fame through   my bed c0 and zut and dr. Bunsen honeydew exactly  so dave was working as an industrial designer for   hewlett-packard in California and was an adult  in his 20s and happened to catch par Sesame   Street and sought Bert and Ernie and was just so  taken with the design of the characters and how   their personalities sort of matched the way they  were constructed yeah he was like that's what I   need to be part of so he built his own Ernie  and Kingston New York and figured out how to   reach Jim Jim was not so hard to reach he would  talk to people know and Jim's like yeah sure you   can come and work for us so he started building  puppets and then was drafted into performing sort   of against as well but it's a good thing you  have fascinating I I know Dave I know Dave and   he told me about performing gonzo for the first  season of The Muppet Show and then realizing he   wanted more and so he added the I mechanism gonzo  to deepen the character for the second season and   I loved hearing the fact that this was an ongoing  process of character development and construction   technique and design and instrumentation yeah  yeah that's a wonderful wonderful thing yeah   yeah often the the builders would also have their  hands at performing so it wasn't like a factory   situation not a really really understood what's or  what it took to be able to make those characters   come alive and refine them over time I'm looking  at the Muppet Show openings behind you I mean I   remember in 1976 my family getting excited about  the premiere and just sitting down and watching   it on the night I can't remember what night of the  week it was but I remember watching it and talking   about it the next day at school yeah I loved only  on line up yeah the opening line up it's great and   there's gonzo the misunderstood performance artist  of the Muppets and if we turn the corner we'll see   the actual Muppet sign Wow we were so we were kind  of beyond excited you know the the archivist of   the Henson Company Karen Falk who's amazing yeah  um one day she was like oh you know we've got you   want to see the Muppet Show sign okay three bar a  lot of the material in the exhibition is borrowed   from the Jim Henson Company archives the Muppets  are the museum's we you know they're ours but the   a lot of the cert process material is out of the  archives so Karen just took out this sign and we   were like okay Vanessa see is this one of the  original sketches yes it's a design sketch by   Michael fris for the for the sign and then this  is sort of a storyboard for the opening segment   Wow it's so great they saved all this stuff  you can really see how how it was developed   yeah another thing they saved which was really  fortuitous was bankers boxes upon bankers boxes   etc a fan mail that came in and you know what we  wanted to do was a test to jim's vision to make a   show that wasn't just for kids it was really for  families it was for people of all ages so we just   sort of randomly started picking out letters to  show that you know the diversity of people that   serve rode in like you're inspired and inspire  yeah yeah yeah now behind I see here yes the   fabulous Miss Piggy in all her glory she's amazing  she is Wow she'd be the first to agree with you she looks beautiful so that's that's Miss Piggy  in her dress from the Muppets Take Manhattan and   it was really the movies that made her into  service talkin into a big star in a fashion   icon you and she served remains a fashion icon  just serve crazy but you know it wasn't you   know was it one person making me bunny Erickson  is the designer and builder of the first Miss   Piggy but it was obviously Frank's performance  and it was Michael Firth being an art director   that created the calendars that showed her in  all these elaborate costumes and the costume   designers Calista Hendrickson Barbara Davis  that that supplied the Wardrobe so you know   again it's these sort of amazingly you know  talented creative folks that that the gyms are   trusted to be able to bring his characters to  life I love the fact that Jim and Frank built   Ernie and Bert and Kermit and Miss Piggy and it  must be it must have been fascinating for them   as performers to find these relationships and  different different relationships and different   characters in the way they relate to each other  exactly yeah yeah was it was a sort of a chemistry   you know between two performers that is really up  there in the any you know in the amazing pairs of   folks on the screen you don't see them on the  screen you see their characters on the screen   there was the documentary years ago that showed  Jim and Frank on Sesame Street set improvising   as Ernie and Bert yeah I'd remembered I watched it  dozens of times because I'm so inspiring watching   them find these characters and explore them right  exactly and you just saw how much fun they were   having to write and that's something that keeps  coming up because people are always asking like   you know like what makes this stuff so special  and how these characters so long-lasting and an   answer that a lot of people a lot of people's  I've worked on with Jim and Ollie's character   say it's just that they were having so much fun  you know that the their love of the projects the   characters the puppets the stories was was really  informed their performances and their work Dave   goals told me that Jim would just take the time to  get the scene right that he would keep on shooting   until everyone felt like there was a performance  that really mattered going on and he was like   never again after Jim if I felt like that total  amount of we're just kidding we're just here to   get this right and Jim really created that space  he said that allowed them to spend that time yeah   because it was technically really demanding I  mean it wasn't just like knowing lines Frank Oz   was here at the Museum recently and told and told  this story and I forget where he was but there was   there was a there was some show that they were  doing maybe with a live show or something on TV   where they were served mostly human characters and  and he and James are waiting in the wings to go   on with their puppets and someone turned to them  and and and said you guys look like surgeons like   like like here at your operation is so focused  you know because they you know they're just   like saunter on and be their personalities like  they have to make these these other things come   to life and you know those other things depend on  them for their life so they're really attuned you   know in a very strong way well in that fiscal  demand I'm looking at this architectural model   over here that I find really fascinating this is  an example of how they had to work if they were   doing a scene we you have them puppeteers under  here with the Muppets on fire exactly so starting   really starting for the Muppet Show they wound  up they're building these sets that allowed for   these false floors so that puppeteers had space to  be instead of having to be I mean a lot of times   they have to be curled up inside something crazy  to be able to perform so yeah this is we love the   sent model because it shows what it sort of took  and that you know there's puppets on top and and   people actually doing it and that there's monitors  here so they can see what the camera sees yeah I   mean in every cut time they are having to perform  basically backwards they're looking at a camera   that's showing them yeah that's right crazy yeah  yeah so so again the canvas keeps getting bigger   so the The Muppet movies are bring the Muppets  of the big screen and then the three projects   that we focus on in this section Fraggle Rock  Dark Crystal and labyrinth you know are these   fully integrated imaginary worlds yeah right  so there's no sir reference to the real world   in them right Jim wanted to just you know use the  full force of his imagination and the imagination   of his collaborators just invent something new  so you know with Fraggle Rock you know he knew   he had the audience out there internationally  with the international versions of Sesame Street   and The Muppet Show was all over the world so  he knew that he had the attention of the world   and really felt like he had the responsibility  to use that attention in a way that would help   things right so he you know very some some very  consciously want to develop Fraggle Rock as   something that would help bring peace between you  know different kinds of people so that the three   you know groups in Fraggle Rock the gorgs the  Fraggles and the Doozers are altered in their   own universes and they're very very different  but they're interdependent and you know I mean   it sounds almost naive but with Jim Henson it's  not no I really believe this and and you know it   wound up being this tremendously successful show  yeah maybe you know maybe it did make the world a   little better I by definition because we can enjoy  Jim even decades later and understand how how   beautiful this vision was and again the technology  right so always pushing the limits of technology   so so so we have a little clip there that shows  what it sort of took to be able to control these   Goron Safie was humans walking around in  these giant puppets but their expressions   were controlled remotely oh my god puppeteers who  weren't yes the costumes exactly so you see there   there's Jerry Nelson using what they called a  Waldo to to control the puppets phases through   radio control and they did the same for the tiny  little Doozers cuz you couldn't get a puppeteers   hands in them but you could you know sort of  operate those from gross motor skills these   little fish fish you know like things these these  these mechanisms but the the really subtle facial   expressions on them were also produced for moley  theories so separately from those oh wow yeah   yeah because they were really subtle I mean if you  look at their faces they're talking I mean they're   moving their lips and they're tiny I mean you're  really really tiny but they have these little mix   in there that that would move and Kathy Mullen is  on the screen they're sort of demonstrating how it   worked and to be clear this was this absolute  state of the art like in terms of animatronic   movement and character building exactly they were  at the absolute edge of the technology and a lot   of that was developed during the production of the  dark crystals and your crystal came out in 82 so a   lot of that development happened 81 they you know  they in the dark crystal they used a combination   of like cables and pulleys and then as the  production went on and they felt like they needed   more subtle controls they that kind of radio  control technology developed and then they applied   it to Fraggle Rock so they sometimes jokingly  saying you know that the Dark Crystal was like you   know millions of dollars rehearsal basically for  Fraggle Rock because then they got to apply their   technology there and we're better for it yeah so  then we move on to some iconic amazing costumes   from from labyrinth look at that we're Sur people  take center stage in a way right so it's in the   characters of Sarah and Jairus that are the the  main focus in labyrinth but but they're surrounded   by all these these magical puppet characters again  and this in this fully sort of realized world yeah   yeah exactly yeah incredible I love looking at  costumes like this close up this is the amount   of extra detail in there that right is implied on  screen and as part of the veracity of the world   up close it gets you think well you know I think I  think you know working and you know at the museum   with a lot of different makers I think what you  find is a common theme between people's work that   is really really brilliant is that they do much  more than is necessary yeah that the attention   to detail is more than anyone will ever sort of  notice but it communicates somehow it's all coming   out yeah yeah yeah as a complete world we have  this fantastic sexist puppet so we could have us   a rep proper a proper stage this is a changeling  right this is the ritual master o j-- and if this   was the one that was performed by Jim and you know  again these you know they he's working with really   it says you know the the early I mean I mean think  of it right the the Muppet movies are coming out   but you know dark crystals coming at the same time  so there's so much going on right so much going on   and working in foam latex was a fairly new medium  for them right so they've been working with these   fabric puppets from the Muppet Show for Sesame  Street for all these different project additive   building technology using foam and carving it  down he's not making castings and mold yeah so   this was a really really different kind of way of  creating you know creating the puppets and also   creating a characters right so those those things  are always served together and you know there's no   and there's a lot of the Dark Crystal characters  are serve an underneath layer under the foam latex   that provides the the mechanism so these are the  hand extended fingers exactly that the puppeteers   could operate and then the foam latex hands would  serve slip over them and I love you can just as   just plywood these are plywood clevis joints with  with cable operation it's so it's the mechanics   are so simple and yet so robust yeah that's great  and similarly Jen and Kyra are heroes and the   Dark Crystal had these sort of mechanized resin  layers under their foam latex heads that operated   everything and maybe you know a little weird  to look at their serve what skinless faces but   it's how it all is how it all worked in a day  of our Dewey no control BOTS being relatively   trivial for people to assemble and construct  this is the this is again at the absolute edge   of making it up at the other point and making it  up yeah they were totally just making it up yeah   these are the most ancient RC rigs that I've  ever seen Wow and they've got plywood cutouts   to control the level of movement for some of the  actions in there and annotating kind of what it   was no wow and then the linkage between the two  that clearly added some relationship in terms of   facial movement mm-hmm and these servos going to  cable drives Wow Wow this is just gorgeous so um   you know we didn't want the end the exhibition  with just like he made these big films and then   sadly you know he passed away in 1990 we really  wanted to give people the the the feeling that   he was just constantly working constantly doing  a hundred different things innovating iterating   right exactly some things that worked some things  that didn't but always always kind of pushing the   envelope always sort of you know involved in in  making things and making new things so this final   sort of short section is just about the you know  the the the number of projects that he was working   on in the late eighties really up until 1990 when  he passed away and they include the storyteller   which was featured on Jim Henson hour and also  in other ways the creation of the first digital   puppet fully digital puppet waldo see graphic and  there's are some sketches i did not realize that   yep so that was you know he's really again looking  forward to using digital technology and starting   to make real headway in that area and so even  though he starts with the simplest cloth puppets   he's not shying away from the technology at any  point in this process he's bringing you guys using   it pushing it to the edge of its possibility  for storytelling and continually affecting the   whole other swathes of the film industry with that  technology exactly yeah so it's this real kind of   interesting dichotomy between the simplicity and  the complexity behind it and he wanted the stories   to feel really simple he didn't want you to be  distracted by the technology but he was he was   gonna worry about you as a viewer to worry about  it and then his come you know after he passed   away in 1990 his company went on and we're real  innovators in digital puppetry which just shows   that they that they still make so that's that sort  of wonderful that's crap you know at the very end   we wanted to create sort of just a just an odd  just sort of a wrapping up moment that shows my   I think I said earlier that you know he created  this company of puppets but what we're also   talking about in the exhibition is this company  of people right and they sort of exist on parallel   culture yeah so you know we wanted to really sort  of highlight the people and the and the puppet   characters the two sets of characters yeah yeah  and you know not create a shrine but but really   give you a moment to sort of kind of meditate on  what he left behind that's really lovely I mean   it's there's so much joy extent in every part of  the process from the first puppets to the company   to the stories to the songs celebration yeah we  want to inspire people walking through here you   know I mean we you know we feel a commitment to  to our to our visitors and education is at the   heart of the mission museum so you know we want to  entertain folks but we really want them to sort of   walk away feeling inspired to go out and do their  thing you know from from from Jim's example and   the example of the people that he worked with to  sort of do their best and throw stuff against the   wall and see what sticks for them achievement  unlocked Barbara this has been an absolute   fantasy of an accident to come and see really to  have you here thank you I really appreciate it

Channel: Adam Savage’s Tested

Views: 1,461,405

Keywords: tested, testedcom, adam savage, museum of the moving image, jim henson, muppet show, exhibit, review, museum, kermit, puppets, sesame street, new york, tour

Id: IdaX96pvI1E

Length: 32min 12sec (1932 seconds)

Published: Thu Nov 16 2017

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"This is the Chamberlain, right?" "This is the Ritual Master..."

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