The skeptical community is absolutely near and dear to the Mythbusters’ heart and there’s no small reason that they’ve embraced us. That’s our people. That’s the way we like to think.
We cleared all traces of our occupation out of M6 and moved to M7, and it's been quite smooth over there. We chose a place all the way at the end of an industrial park.
The fact is that the British Museum had a complete specimen of a dodo in their collection up until the 18th century - it was actually mummified, skin and all - but in a fit of space-saving zeal, they actually cut off the head and they cut off the feet and they burned the rest in a bonfire.
I'm obsessed with the form of a toolbox. The idea of a portable kit that has everything you might need ignites something inside me. It's like Batman's utility belt.
Audiences of critical thinkers are my favorite kinds of audiences. There are jokes I tell in the show that don't get laughs unless I am in front of an audience of critical thinkers. Put me in front of a crowd of science teachers or astronauts! The guileless aren't our audience - it's the critical thinkers we love.
The explosions, like the urban legends, are a great way of bringing people in to watch, because it's really fun, and you know we're always going to give you a satisfying ending.
Whether it's the experiments on 'MythBusters' or my earlier work in special effects for movies, I've regularly had to do things that were never done before, from designing complex motion-control rigs to figuring out how to animate chocolate.
I'm a lifelong movie addict, and one of my favorite projects is making replica props and costumes. Nearly every one of these - from R2D2 to Hellboy's revolver - ends with the paint job. And it's not just cosmetic. The paint literally tells a story: what this thing is made of, where it's been, what it's been used for, and for how long.