Spock then sees a poster advertising a VIP Rave in the Mona Lisa hall, apparently hosted by the same wrong Leonardo.

This was just a Photoshop image. I plan to redo it with my Leonardo DiCaprio puppet and my 1:6 scale Mona Lisa, posed like a diorama.

Spock also notices a diorama honoring Leonardo DiCaprio’s character from Titanic, who Spock misidentifies as Leonardo DaVinci. An honest mistake.

This is another shot where I’m bouncing light off a gold bar. This time bathing Amanda’s briefcase in the reflection while Dennis transitions back into a cockatoo. You can almost read the printing on the bar: “999.9 FINE GOLD”

This is one of my favorite shots in the film. The camera is placed behind the big green screen plexiglas dome behind Kim & Vonky, through a hole that I made with a 3-1/2″ hole saw.

Vonky is frozen with a Pringle in her hand and a gleam on her costume jewelry. Dennis is prone behind Amanda, bathed in golden light. I achieved that by bouncing a halogen spot light off a large plastic gold bar. We also get to see the table and Kim’s laptop covered in cocaine from a previous scene.

Here we start to appreciate Kim & Vonky’s strange relationship. Is she his sex slave? Or is it the other way around? He feeds her a Pringle and then bullies her with his bullhorn, making her hat fly off.

This is a good look at Vonky’s custom hat, crafted by Annette Pardini (@mydollasylum on Instagram). Here, Amanda asks her, “Is that a maxipad, Vonky?”

Meanwhile, Vonky stacks gleaming gold bars into the briefcase — and precisely to the beat of the music. 16 bars for 16 beats, at 10 frames per beat.

That sub-shot is the first time we see evidence that POSERS are capable of existing and operating at variable frame rates. In other words, Amanda suddenly poses to place one bar in the briefcase once every 10 frames. But the MOCO camera continues to move at 24 FPS, to catch all the light reflecting off the gold.