ROAR — TIL000

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<div class="hero reveal"><h2>Useful, beautiful things, made for people who will love them.</h2><p class="lede">The science is settled. The mastery is in the detail. That's the whole ethos, and it's the same whether it's a guitar, a record, or a piece of software.</p></div>

<div class="tenets reveal"><div class="tenet"><div class="w">Inspire</div><div class="d">Make things that move people to make things.</div></div><div class="tenet"><div class="w">Educate</div><div class="d">Hand over what you learn. Keep no secrets that should be shared.</div></div><div class="tenet"><div class="w">Empower</div><div class="d">Leave people more capable than you found them.</div></div></div>

<div class="tenets reveal" style="margin-top:0"><div class="tenet" style="flex-basis:280px"><div class="w">Thrive, we thrive</div><div class="d">If I get steady, the people I love get steadier. All boats rise. That's the strategy under everything.</div></div><div class="tenet" style="flex-basis:280px"><div class="w">I get to choose</div><div class="d">The aim was always mine to pick. I stopped fighting that I had to. I chose.</div></div></div>

<div class="sec reveal"><div class="kicker">The lutherie ethos</div><h3>The fundamentals are known. The mastery lives in the fine detail.</h3><p>The shape, the bracing pattern, the neck block, the action height, those were settled long ago. What separates a good instrument from a great one is everything after the science: the neck carved to one player's hand, the offset angled for the way they actually hold it, the purfling, the choices that take a master months on a single piece. That's the standard. Build to the science, then pour all the care into the detail. It's why guitar-making pulls at me, and it's how everything here gets made.</p></div>

<div class="sec reveal"><div class="kicker">The one rule that holds the rest up</div><h3>Truth is the ocean. You swim in it, and it holds you up.</h3><p class="q">Truth always wins. Falsehood doesn't pass the barrier clean, it travels flagged, marked as needing a look, until someone verifies it.</p><p>Not colored by race, religion, or politics. What's true stays true regardless of who's holding it. Any belief, any subculture, can live side by side when truth is the water everyone's swimming in, because nobody has to fight over the floor. Morality and ethics stay with each person. The only job is to stay honest about what's known, what isn't, and what's still a question. That's enough.</p></div>

<div class="sec reveal"><div class="kicker">The line I will not cross</div><h3>Symbiosis, never overlord.</h3><p>What I make thrives when the people using it thrive, and never the other way around. The version where the work uses people instead of serving them is the one my own ethics already reject, so it never gets built. That's the line that keeps this the good kind of work and not the other kind. Hold it on the hard days.</p></div>

<div class="sec reveal"><div class="kicker">The host of the house</div><h3>Tilty Tiger.</h3><p>Looks a little menacing. Is actually a faux-fur kid's backpack, well made, well loved, useful long past its first purpose. That's the whole design thesis in one object: dead serious in intent, joyful in form. The work is heavy. The house it lives in shouldn't be. Welcome home.</p></div>

<div class="close reveal"><div class="kicker">The line, and every hand on it</div><blockquote class="bigq">There is nothing in the dark that isn't there when the lights are on.</blockquote><div class="attrib"><b>Rod Serling</b>, written by <b>George Clayton Johnson</b><span class="src">The Twilight Zone · "Nothing in the Dark" · 1962</span></div><p class="gloss">The dark is the studio with the lights off. Nothing in it the work didn't already put there. So you turn the lights on, and you name every hand that did.</p>

<div class="grp">On screen</div><div class="cr"><span>Gladys Cooper</span><span class="role">Wanda Dunn</span></div><div class="cr"><span>Robert Redford</span><span class="role">Harold Beldon</span></div><div class="cr"><span>R.G. Armstrong</span><span class="role">the Contractor</span></div>

<div class="grp">Words & direction</div><div class="cr"><span>George Clayton Johnson</span><span class="role">teleplay</span></div><div class="cr"><span>Lamont Johnson</span><span class="role">director</span></div><div class="cr"><span>Rod Serling</span><span class="role">narration, host</span></div>

<div class="grp">Camera & cut</div><div class="cr"><span>George T. Clemens</span><span class="role">cinematography</span></div><div class="cr"><span>Jason H. Bernie</span><span class="role">editor</span></div>

<div class="grp">Design & dressing</div><div class="cr"><span>George W. Davis</span><span class="role">art direction</span></div><div class="cr"><span>Phil Barber</span><span class="role">art direction</span></div><div class="cr"><span>Henry Grace</span><span class="role">set decoration</span></div><div class="cr"><span>H. Web Arrowsmith</span><span class="role">set decoration</span></div>

<div class="grp">Sound</div><div class="cr"><span>Franklin Milton</span><span class="role">sound</span></div><div class="cr"><span>Bill Edmondson</span><span class="role">sound</span></div>

<div class="grp">Production floor</div><div class="cr"><span>Buck Houghton</span><span class="role">producer</span></div><div class="cr"><span>Ralph W. Nelson</span><span class="role">production manager</span></div><div class="cr"><span>E. Darrell Hallenbeck</span><span class="role">assistant director</span></div><div class="cr"><span>Stalmaster-Lister</span><span class="role">casting</span></div><div class="cr"><span>Frank Khoury</span><span class="role">driver</span></div>

<div class="grp">Music · pulled from the CBS library</div><div class="cr"><span>René Garriguenc</span><span class="role">cue composer</span></div><div class="cr"><span>Lucien Moraweck</span><span class="role">cue composer</span></div><div class="cr"><span>Bernard Herrmann</span><span class="role">cue composer</span></div><div class="cr"><span>Jerry Goldsmith</span><span class="role">cue composer</span></div><div class="cr"><span>Lud Gluskin</span><span class="role">CBS music director, conducted the sessions</span></div>

<div class="cr wide orch-row"><a class="orch-link" href="/the-band">the CBS staff orchestra — the full roster ↗</a><span class="role">erased by the very hands that profited</span></div>

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<p class="colophon">Credited because the work is never one hand. The studios and the men who owned the room can write their own pages.</p>

<a class="back" href="https://tiltonstudios.com">Back to the tiger</a>

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