Dr. Peter Weller

But the thing is, if somebody walks you through and goes, look, see this here before? They're trying. See this fresco here from ancient Rome? Yeah. They had it down. It's lost. They're trying here in the Middle Ages. They can't do it. Okay, how come this guy can't?

But the thing is, if somebody walks you through and goes, look, see this here before? They're trying. See this fresco here from ancient Rome? Yeah. They had it down. It's lost. They're trying here in the Middle Ages. They can't do it. Okay, how come this guy can't?

Okay, maybe because he's studying with this amazing mosaic guy, Pietro Cavallini, that we can see in Rome, who invents depth with pieces of glass. Depth with pieces of glass is his Cavallini. Maybe it's because he's studying with him. It sure as hell isn't because he's like, you know, studying with anybody.

Okay, maybe because he's studying with this amazing mosaic guy, Pietro Cavallini, that we can see in Rome, who invents depth with pieces of glass. Depth with pieces of glass is his Cavallini. Maybe it's because he's studying with him. It sure as hell isn't because he's like, you know, studying with anybody.

Okay, maybe because he's studying with this amazing mosaic guy, Pietro Cavallini, that we can see in Rome, who invents depth with pieces of glass. Depth with pieces of glass is his Cavallini. Maybe it's because he's studying with him. It sure as hell isn't because he's like, you know, studying with anybody.

Something comes off the chip and all of a sudden you walk into the Capella Scriveni and you go... holy cow, and Brian and I went, we gotta call Vittorio Storero and thank this guy, and then I've thanked everybody since then, man.

Something comes off the chip and all of a sudden you walk into the Capella Scriveni and you go... holy cow, and Brian and I went, we gotta call Vittorio Storero and thank this guy, and then I've thanked everybody since then, man.

Something comes off the chip and all of a sudden you walk into the Capella Scriveni and you go... holy cow, and Brian and I went, we gotta call Vittorio Storero and thank this guy, and then I've thanked everybody since then, man.

I've thanked everybody, you know, cinematographers, I mean, Brian was working with, and I had just worked with Carlo De Palma, who was Antonioni's guy, and then he was with Woody Allen, and we'd just done Mighty Aphrodite, and Carlo De Palma, and other guys as well, man. I mean, you guys never went there? I mean, you can't look at the Sistine Chapel without going there.

I've thanked everybody, you know, cinematographers, I mean, Brian was working with, and I had just worked with Carlo De Palma, who was Antonioni's guy, and then he was with Woody Allen, and we'd just done Mighty Aphrodite, and Carlo De Palma, and other guys as well, man. I mean, you guys never went there? I mean, you can't look at the Sistine Chapel without going there.

I've thanked everybody, you know, cinematographers, I mean, Brian was working with, and I had just worked with Carlo De Palma, who was Antonioni's guy, and then he was with Woody Allen, and we'd just done Mighty Aphrodite, and Carlo De Palma, and other guys as well, man. I mean, you guys never went there? I mean, you can't look at the Sistine Chapel without going there.

So enough being made fun of. That's your anniversary.

So enough being made fun of. That's your anniversary.

So enough being made fun of. That's your anniversary.

That's your anniversary.

That's your anniversary.

That's your anniversary.

You got to go. By the way, you got to book it in advance.

You got to go. By the way, you got to book it in advance.

You got to go. By the way, you got to book it in advance.