Linnea Snyderman is taking modeling in a new direction. One that creates unique images that are both timeless and ethereal. We talk underwater modeling, forging your own path and the challenges of underwater photography. Then, we countdown the Top 5 TV Show Themes.
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Linnea Snyderman: 01:25
Pointless and Top 5: 37:48
Interview with Underwater Model Linnea Snyderman
Nick VinZant 0:11
Welcome to Profoundly Pointless. My name is Nick VinZant. Coming up in this episode, underwater modeling, and TV show themes,
Linnea Snyderman 0:21
so much chlorine and this dress that wanted to drown me and we did a shoot and after afterwards I just that I just thought like this is this is exactly what I want to do suspended in time and reality. So it gives a really dreamy look to the images. If you shoot for too long in chlorine, what happens is, it looks like you're in an old timey movie, you're you have this like flashback scene where everything's hazy, and every light has this big ring of light around it.
Nick VinZant 0:50
I want to thank you so much for joining us. If you get a chance, subscribe, leave us a rating or review, we really appreciate it really helps us out. If you're a new listener, welcome to the show. If you're a longtime listener, thank you so much for all of your support. So our first guest is taking modeling in a new direction. Underwater. It's something that's both incredibly difficult. And amazing to see. This is underwater model. Linnaeus, Sniderman. So how is underwater modeling different than other types of modeling?
Linnea Snyderman 1:29
So I don't consider myself a model. I consider myself an underwater model, because it's only taking place under the surface of the water. So it can be any body of water can be a pool, a lake or river, an ocean. But yeah, you're submerged fully underwater,
Nick VinZant 1:47
I guess. How did you get into that? Right? Like, that doesn't seem like the natural Avenue,
Linnea Snyderman 1:53
right? Absolutely. So I got into this over 10 years ago, my aunt and uncle have a friend who is a director and he was making an underwater film. And he just wanted to do some test shots. And so I got in a public pool with him. So much chlorine, and this dress that wanted to drown me and we did a shoot. And after afterwards, I just said, I just thought like this is this is exactly what I want to do. I love the water. So I'm a water baby. And I'm a professional dancer as well. So I just combined two things that I absolutely love more than anything and combine my passions.
Nick VinZant 2:28
Why is this this thing? I guess, in that sense, right? Like, okay, but why do this?
Linnea Snyderman 2:34
Right? Well, it's a thing because not everyone can do it. A lot of people have trouble staying underwater, you know, being comfortable in the water. So there's a small amount of people that can actually achieve modeling underwater, it's a lot harder than it seems. And it's something that fortunately came very naturally to me. And it's just something that just felt like this is what I was meant to do. It's unique. It's gives a completely different perspective to a to an image or a video, we'll show
Nick VinZant 3:06
some of the images on screen for people who maybe are looking at this on YouTube or things like that. But like, how would you describe the kind of look of the images, I guess?
Linnea Snyderman 3:18
Yeah, I think of them, at least what I like to do is very artistic and ethereal. You have this sense. I mean, you're obviously weightless. So you have this sense of weightlessness. And there's no time it's just suspended in time and reality. So it gives a really dreamy look to the images.
Nick VinZant 3:36
I'm gonna go all psychological here that I've heard that the water represents our unconscious, in some ways that that is that is supposedly what water represents, which is why you always see it in like movies and TV shows and things like that. Yeah, I would obviously like the first one. I saw some images like Oh, ethereal is the word that is like, oh, word, right? Yeah,
Linnea Snyderman 3:58
absolutely.
Nick VinZant 4:00
Is there a lot of this being done?
Linnea Snyderman 4:02
You know, it's a fast growing field. Honestly, underwater modeling. I think a lot of people are catching on to it, and everyone wants to try it. And some people can do it. And some people have a lot of trouble with it. But it's definitely growing, you're starting to see a lot more underwater in films and TV commercials, print ads for fashion, it's growing rapidly. But when I first got into underwater modeling, it wasn't really a thing. And then you have the mermaid thing, which is a whole separate a separate category. But what I do is art is what I consider it to be
Nick VinZant 4:37
No, wait a minute, is there a little tension between the underwater modeling community and the mermaid community? Because my mind is just picked up a little bit. Is there a little tension there?
Linnea Snyderman 4:48
I think there is a little bit of tension because a lot of people say oh, you're a mermaid, and I have to correct them. Well, I'm a mermaid without the tail. Because I do consider those to be very different things. I think mermaid thing is, it lives in the fantasy world, which is beautiful on its own. What I do is more in the artistic world. It's not entertainment, it's art.
Nick VinZant 5:11
So like when we kind of get into the techniques of it, though, so to speak, right, like, what do you have to do is an underwater model that you wouldn't have to do on a land shoot, I know, I want to use the word normal. But you know, and I call it on
Linnea Snyderman 5:25
land shoot. I have a photo shoot that's not in the water. I'm like, today I'm shooting on land. Now, that's a great question. I think. So I'm a scuba diver. And I've been scuba diving since I was 14 years old. And scuba diving teaches you buoyancy control. And that is basically what separates on land modeling from underwater modeling, you have to figure out how much air is in your lungs? Where do I want the shot? Where does the photographer want the shot? Do you want to be at the surface of the water? Do you want to be at the bottom? Or do you want to be suspended floating in the middle of the water. And that all depends on your lungs and buoyancy control. So for example, if you want to be at the top of the pool or the surface of water, you need to have more air in your lungs. If you want to be floating, beautifully suspended in time and space, you let out about half of your air. And if you want to go all the way to the bottom of the water, you're going to let out all of your air before you submerge. And that takes a lot of practice. I'm also a free diver. So the freediving the scuba diving has helped me so much with the underwater modeling as well. And just general comfort in the water is definitely necessary.
Nick VinZant 6:39
How long would you say that it took you to really get good at it.
Linnea Snyderman 6:42
I don't, I don't want to sound braggy as you were saying, but honestly, it's something that came super super naturally to me. And I just I credit that to my comfort in the water, since you know childhood, and then my dancing ability. So being a professional dancer, for many, many years taught me what my body looks like in space and how to move in space. So I almost know exactly what I'm going to look like from the cameras perspective, just from my years of ballet in front of a mirror.
Nick VinZant 7:16
Can Have you seen other models transition?
Linnea Snyderman 7:19
Yeah. So I think it's it's much easier if you have a performing or a dance background, because you just have that awareness of pointing your feet and how to control your body and space. But I've definitely seen people that you know, aren't as comfortable in the water. So you're so focused on your breath and how you can't breathe. So there's a huge range of comfort in the water, it's you have to think about a million things when you're doing it. So on land, you're just breathing air. But underwater, you're not only controlling your breath and where you are in space, but you're controlling the way your hair and your clothes, move in the water, and then you're posing, and then you're trying not to run out of breath. And then you're pointing your toes. And then you know, there's just a Do I have time to get to the surface. There's just a lot more involved underwater.
Nick VinZant 8:09
So when we talk about like, basically who's kind of paying for these campaigns, what kinds of campaigns like what are these images and videos and things like that, like what are they generally being used for
Linnea Snyderman 8:21
a lot of what I do is work for trade. And it's just a beautiful artistic shoot that I'm doing with the photographer, I'm getting images to post on my website, my social media platforms. And that's a lot of what it is. But when I do get paid for shoots, it's either just coming directly from the photographer, or, say you're doing a print ad or a commercial, you're definitely going to be paid better for something like that, or a music video. So I've done I've done some of those bigger paid jobs as well. But mainly what I do is just for the love of it, it's just being creative in the water. And that's honestly, I haven't put as much pressure on myself to make it a full time career just because there isn't enough work out there, at least in exactly what I do.
Nick VinZant 9:11
Do you think that it's gonna get to that? Or is this like, yeah, this might get a little bit more popular, but it's always going to kind of be right in that area.
Linnea Snyderman 9:19
I think in order to make money at the underwater modeling thing, you have to be incredibly present on social media. It's all about social media. So the Pete the few people that are making money doing this, they are teaching workshops, they're bringing people to exotic locations and teaching them how to do underwater modeling, or underwater photography. And that sounds great, but that means you are just on social media all day every day. And I don't think that you have to be able to edit all of your stuff. You have to be making content, putting it out every day and that's just I just want to come in and do the thing. I know. I know. don't want to do all the computer stuff. So I've I've decided I would rather just do this because I love to do it and not put in that all day every day on the grind computer. Tick tock Instagram reels. It's just too much for me personally,
Nick VinZant 10:17
it kind of sounds like right like the way to make money is to be less of a model and more of an influencer.
Linnea Snyderman 10:23
Absolutely. 100%
Nick VinZant 10:26
Is it cold? Feels like it would be cold. You mean the water? Yeah, like,
Linnea Snyderman 10:32
Okay, this is. So at this point in my career. I hate shooting in cold water. Honestly, I hate it. I'm always cold. So either I'll shoot in the summer. I mean, I live in Los Angeles. It's really warm in the summer. So most pools even if they're not heated, they're fine in the summer, in the winter would have to be heated pool. I'm not getting into a freezing cold pool. Absolutely not. And I get a lot of requests to shoot in the ocean here in, you know, in Catalina, and off the coast of you know, Los Angeles, and I just I refuse, I just cannot handle the cold. It's way too cold here.
Nick VinZant 11:13
Yeah, I don't think that maybe people who live in other parts of the country because I live on the West Coast. I live in Seattle. And like the water up here is freezing. Like it's 50s. And like, yeah, you can do it. But you can't really do it for very long, right? Well, as soon
Linnea Snyderman 11:29
as you're too cold your breath hold goes. I mean, you have no breath hold once you're cold. When I'm free diving in California, I can barely hold my breath. If I'm free diving in the Bahamas, you know, I'm good to go.
Nick VinZant 11:42
That kind of like basically leads us into some of our listeners submitted questions. So are you ready for some listeners harder slash listener submitted questions? Yeah, I love that best place to shoot worst place that you've shot,
Linnea Snyderman 11:55
my absolute favorite place to shoot is the snow days in Mexico. And I've had the opportunity to, to, to shoot there a few times. And so if for the listeners that don't know what a snow day is, it's an underground natural pool of water. You could have it's sometimes you have a cave overhead. Sometimes it's an open pit of water, but it's all natural. It can be salt, freshwater or brackish. I love shooting those because I mean, it is a little bit on the cold side. But it's worth it, you have this beautiful natural rock behind you. And each synote is so unique and different. And you'll have little fish in there turtles swimming around with you. And it's a really controlled environment and like the ocean. So that leads me into the next part, I don't especially love to shoot in the ocean, I mean, you'll get some really beautiful images, but it's a lot harder, it's it takes a lot more effort. First of all, to get down in the saltwater to hold, you know, to be able to submerge and think saltwater makes you very buoyant. So that adds another layer, then you have the crashing waves at the surface and you're trying to get calm before you go down. So you don't have the ledge of a pool or the edge of the lake to hold on to there's nothing to hold on to unless you have a buoy. But even then, it's just it's a lot more effort. You have the the waves crashing around, you have to look out for coral. So I love shooting in a more controlled atmosphere like it's an outdoor swimming pool. But yeah, chlorine as a whole. You know, chlorine versus salt is a whole nother topic as well.
Nick VinZant 13:33
Yeah. What do you do if you're shooting in a place that like, it's not like you can just go sit in the chair, right? Like you're waiting, like, what do you do? What do you do just treading water out there waiting for the next.
Linnea Snyderman 13:45
So it's already so exhausting. Being an underwater model, you know, the shoot is a lot more tiring than if I'm shooting on land. But as soon as you take away the edge or something to hold on to that solid, it's it's it takes it astronomically higher in terms of discomfort, you don't have time to catch your breath. You don't have time to relax your body. And the whole thing with freediving or underwater modeling is it's a very zen feeling when you're under the water, you should be calm. You should be in control. And it's hard to do that when you're gasping for air and you can't catch your breath. So, yeah.
Nick VinZant 14:24
So what do you do they have to have like a buoy out there. Wow,
Linnea Snyderman 14:27
you'd have to have a buoy. And even with a buoy. I mean, unless it's a really like solid bigger buoy. I don't know. It's still hard to fully feel calm before you submerge.
Nick VinZant 14:39
Yeah, that would be the thing to me, right? It's like one it seems like a thing. It's like alright, well you just go underwater and you take the picture but then when you really get into it like oh, this is a lot more complicated than I thought that it was going to be. Yeah. How far down do you usually have to shoot like, are you just a little bit below the water? Are you like way down there?
Linnea Snyderman 15:00
Yeah, totally depends on what the photographer wants or the body of water that I'm in. I'm primarily shooting swimming pools, which ideally are seven to nine feet. And so sometimes I'll be shooting at the surface, sometimes I'll be shooting at the bottom, so anywhere between the surface and nine feet down in the ocean, or a lake or a river, sometimes it can get deeper. And so I have, so I have a very good singing capability, which is great. But sometimes I'll just let out all my air and I'll start sinking. And I won't even realize that I'm going like 1015 20 feet down, and I'm posing. And if you're in a body of water, you can't necessarily feel that you're sinking. And you look up and you realize, oh, my gosh, I'm way down, and then I haven't been clearing my ears. So that's another thing you have to think about is if you're getting, you know, too deep, you really have to be clearing your ears every few feet as you go down. And if you don't realize you're singing, you're not clearing your ears. And then you can get a lot of issues with the IRS, which is not fun, a lot of sinus stuff going on.
Nick VinZant 16:15
Have you ever been in like a dangerous situation where you feel like oh, crap,
Linnea Snyderman 16:20
I haven't. I feel like I've been in control of of most of the shoots I've done. The, the worst thing I've done is, is yeah, just sinking too deep and not realizing it. And then my ears start hurting and you come to the surface. And you really have to reset before you go down again, because you can really, really mess up your ears if you're not careful.
Nick VinZant 16:44
How do you keep like, how do you keep the clothes organized.
Linnea Snyderman 16:49
It is an art form to keep the clothes organized. Honestly, sometimes I'm wearing nothing at all. Sometimes I'm wearing a leotard. And sometimes I'm wearing these like beautiful long dresses that can really get tangled. So actually, I had a shoot on Tuesday, and the photographer had created this beautiful skirt that had a million little strips down to the bottom. And they all start to tingle and they start to tangle around your legs. And at some point, you can't kick anymore, and you have to just use your arms. So that's a moment where you have to really be fully aware of what you're doing and make sure you have enough time to get to the surface. I also did this amazing shoot, it was an ocean conservation shoot a few years ago, and we built a fence with a bunch of plastic on it. And we basically put it on the surface of the water. So my job was to swim underneath and pretend like I'm trapped under this fence. And of course, if you don't give yourself enough time, or you get snagged on the fence, you know it's it can become potentially hazardous. So you have to give yourself time if you feel like you're running out of air. Just go to the surface, there's no one that's counting your breath hold or saying you didn't hold your breath long enough. You really have to be safe and make sure you have time to get to the surface.
Nick VinZant 18:09
So if you're shooting in a pool, like it's just like a public pool, like I'm imagining, like the scene from Caddyshack, when there's this, okay, there's the underwater photographers, and then there's like kids dunk in each other in the background.
Linnea Snyderman 18:20
So ideally, not a public pool. Usually it's someone's home, someone that just has a pool in their backyard. And I know there's a million pools in LA but it's still always hard to find a good pool. Something that's deep enough something that is, you know, warm enough. Not too many leaves falling into it. But yeah, public pools are my least favorite place to shoot because there's so much chlorine and your eyes just start burning pretty much instantly. Oh, yeah. That's another thing that makes underwater modeling so different from other things is there's so much ice stuff going on. When you're in the water. There's no other profession or hobby that I can really think of where your eyes need to be open underwater. I mean, if you're synchronized swimming or you're a swimmer, you have goggles on if you're a free diver, scuba diver, you goggles on. You have a mask on. So mermaid ng underwater modeling. I can't think of anything else that has your eyes open for that long and sometimes you're shooting for three, four hours underwater. So if the pH of the water is not correct, you can really do some damage to your eyes and I cannot tell you how many times I've driven home with just like these cloudy eyeballs where I can barely see anything. And I'm trying to see the the street signs and the exit. I mean, you can barely see anything it looks like if you shoot for too long in chlorine. What happens is it looks like you're in an old timey movie, you're you have this like flashback scene where everything's hazy and every light has this big ring of light around it. And so reading signs and streetlights is hard. And this is just one of the hazards. So it's always better to bring someone with you if possible and they can drive you home. Yeah. The safest way to do it.
Nick VinZant 20:12
Yeah, that seems like a bad, right? That seems like a problem for this industry. Yes.
Linnea Snyderman 20:16
Like, yeah, it is. And there are there are eyedrops, you can use that help a little bit. I know some people wear contacts in the water. And I actually I used to wear contacts before LASIK, and I did some shoots with them, and they actually didn't float away, which I was worried about. And they do protect your eye a little bit more. So if you're able to wear contacts, there's also these gel drops, I think a lot of mermaids use, it only helps so much.
Nick VinZant 20:45
Yeah, after a certain amount of time, it's not the right leg, there's nothing you can really do about that. Who is the greatest underwear or underwear underwear. Who is the greatest underwater model of all time, and if it's you say it's you.
Linnea Snyderman 21:01
Um, well, the best in the first is Hannah mermaid. She is also local to Los Angeles. And I've shot with her once. But she you know, she built this industry. And I give her a lot of credit to that. In terms of underwater model there, there's a handful of us out there, there's not too many, I'm pretty much in contact or have worked with all of the underwater models that are really doing it out there. I like I said before, I consider myself to just be lucky enough to have found what I love so much and something that I just am naturally good at. So I think I'm one of the best. And I hear that from almost every photographer that I work with. There's a huge difference between someone who's never shot underwater. And someone who has a lot of experience. There's just it's just massive, the comfort when I'm when I find my neutral buoyancy, and I'm able to just move slowly and in control in the water. That's That's rare. And to enter just have that moment of peace when you're not thinking about a million things. That's that's what takes it to the more professional level.
Nick VinZant 22:17
That's right. Well, you just mentioned that right? Like because I'm thinking like, okay, natural buoyancy, right. But then I just basically realized that wave, I'm kind of flailing around once I go on water, right, like, Oh, I gotta stay afloat here.
Linnea Snyderman 22:29
Yeah, if you're new, if you're newer to it, you're moving fast, you're moving really sharp, you're just trying to stay down and you're just trying to get your hair out of your face. But with a lot of, you know, time and practice, you're able to just be fully in control of your entire body. So, as a professional dancer, when I'm on stage, doing my ballet thing, I'm aware of my facial expression, I'm aware of where my eyes are looking, I'm aware of my body and space, I'm aware of exactly what my feet are doing the dancers around me, and that has been instrumental in this field, because when I'm underwater, I know what my dress is doing, all I need to do is just throw it to the side and feel that fabric move outward, kind of like a jellyfish. And with my hair, I know if I just put my head back a little bit, the hair will kind of get out of my face and do a nice flowy thing. And of course, the toes are always pointed. So there's just, you know, that moment of Zen where it just all comes naturally and you don't have to think about it so much.
Nick VinZant 23:33
Yeah, like do you have to have certain proportions right? Yes to be like, is there a certain height or weight or whatever proportion wise that like oh, that's that's a good underwater model. Like this isn't going to be
Linnea Snyderman 23:48
a good this is such a great question. There is absolutely no body type that is better or worse for underwater modeling. Anybody can be an underwater model. I was once told that I was too short to work with a specific photographer. Because I'm five, six and in the water I look about 595 10 And she said I was too short. And in the water everything elongate so I would say there's no requirement or size shape or anything anyone can be an underwater model. If you're doing like fashion photography, you know you're showing off the clothing and so you know there's obviously a beauty standard for that but anyone can do it. There's no that's the beauty of it. It's not high, it's not it's not print ad fashion modeling. This is beautiful, artistic, and unique.
Nick VinZant 24:45
It is cool to see it right like there is something about it. What do you think that that something is?
Linnea Snyderman 24:53
I think it's the weightlessness I think you're having the what makes underwater modeling different than on land. She thing is this weightlessness. So, when you're in the water, you try not to make a whole lot of bubbles, or you do. So sometimes the viewer can't even tell that you're in the water. But then you have this flowing fabric, you have this flowing hair that you just don't get on land. And it's like you're in outer space. You're just floating around in there.
Nick VinZant 25:21
Okay, do you see your Instagram? Yes, I do. Okay, so tell me about this one.
Linnea Snyderman 25:26
Yeah, this was a commercial I did last year with Brett Stanley. And it was for an underwater pool cleaner. And almost everything you see in this image was submerged underwater, which is the coolest part. I think the only things that were photoshopped were the books floating and maybe the pile of books as well. But I was holding a book, I was sitting on a chaise lounge, and I you know, all of that was there. So the set designers got really creative, and how to sync all of that.
Nick VinZant 25:57
How did you do that? Like, how do you keep that position underwater,
Linnea Snyderman 26:02
I let all of my air out completely all of my air. So I sink right down to the bottom, I'm not floating around. And we had the pose, they told me exactly what they wanted. Once they saw it. They told me they want the hair flowing on the left, they want the hand holding the glasses on the right, they want the hand holding the book. So once I knew exactly what they wanted, I was able to recreate it over and over until they got the perfect image, do you just
Nick VinZant 26:27
have to do that enough times like it doesn't seem like something the water is really going to cooperate, right kind of like, all the water never
Linnea Snyderman 26:35
does what you want it to do. Absolutely. So that's why you have to do a few takes to get get it all in place. Also, you know, pull the dress down, make sure it's not coming up. So you kind of take about 1015 seconds once you get to the bottom to kind of settle, feel comfortable, get the dress in place, get the book in place, swoop the hair to the side, grab the sunglasses. So yeah, it's a process.
Nick VinZant 26:59
Do you know like how many takes or however you want to phrase it before you got this because if you said 1000 To me, I wouldn't be surprised to be like,
Linnea Snyderman 27:09
No, probably 10 times submerging to get this particular shot, you know, before this image was captured, you know, we tried other poses, and, you know, you try different things. And once they see what they want, they get really specific. And I love that I love when a photographer is specific, because I can actually give them exactly what they want. If they tell me where they want the hands, the feet, the dress, I can do all of that. And that's again, my training and in ballet, being able to know exactly how to work the costume and work with the dancers around me and spacing. Just all comes together. This is just kind of Yeah, that was last week just messing around. And I have this GoPro and I've just been meaning to create more content. And I was just having fun with this. And most of the comments I got were like, wow, you can think so easily. You can see I'm a thinker. Yeah, you can see that
Nick VinZant 28:06
you're very fluid. Yeah, it is slow movement. That's pretty cool. Always slow.
Linnea Snyderman 28:13
That first image actually is pretty exciting.
Nick VinZant 28:17
This one. Yeah. Okay, what's what's, what's going on here? Now?
Linnea Snyderman 28:24
This was the cover of Playboy summer 2019. So I was lucky enough to get the opportunity to shoot for the cover. And that was such an amazing opportunity. That was with Ed Freeman. I've worked with him many times and he's just a wizard in the water. What he creates so that was the final image do where is that where it was cool in Los Angeles.
Nick VinZant 28:49
Oh, the thing that threw me off was like the back it almost looks like there's an iceberg behind it.
Linnea Snyderman 28:54
Yeah, so he'll sometimes shoot just underwater just the pool without us in it and get these like really beautiful patterns of light and then he'll put them into the image. And if you see the reflection on the surface, it's actually the the bunny ears
Nick VinZant 29:10
that's really cool. Right and as level wearing our legs Yeah, I am like, I'm not I'm gonna sound like I'm just staring at this right but all the right places are covered.
Linnea Snyderman 29:23
So actually, I was I had an extra job on set I was there to make sure that every we had seven people think it was seven or maybe more than that seven of us on set shooting underwater for this, this edition. And my job was to help make sure that everyone was posing in a way that was not too revealing. So I had to kind of coach you know, covering the arm over the chest or you know, use your downstage leg or the leg in front to kind of cover things and the funny thing was the woman in the middle Marissa So she is a she's worked with Playboy many times, and she's very comfortable with her body. So in almost every shot, it's just everything
Nick VinZant 30:08
wide open, wide open, right, like
Linnea Snyderman 30:11
the photographer had to kind of do some extra shading for this image.
Nick VinZant 30:17
This one, this is cool to me.
Linnea Snyderman 30:20
Oh, yeah, that's Cheryl Walsh. She's also Southern California based and her work is just absolutely phenomenal. And she keeps her pool meticulously clean. So the images always come out really crystal clear and crisp. I'm wearing a wig in this image. So she loves to work with wigs.
Nick VinZant 30:39
Yeah, how do you like to me the challenge would be the dress. Right? Yeah. So
Linnea Snyderman 30:44
actually, we had someone on the surface helping hold the edges of the dress and then let them go as I submerge to get that perfect, like, rounded upward. Because I'm holding a sword. I have to focus on hold. But yeah, so sometimes you'll have people on set helping to kind of help with the dress.
Nick VinZant 31:06
How are they were they just like holding it with their hands? Are they like using wires from up above?
Linnea Snyderman 31:11
No, just with their hands. They hold it. And as I submerge they kind of slowly let it go. And she captures the image right as I'm, I'm thinking that's cool. Love. Now, where's
Nick VinZant 31:21
this hat.
Linnea Snyderman 31:23
This is in the Florida springs shooting with Justin Lecky, and I'm with my friend Jane here. And this was a concept I had. Basically it's it's a it's an ode to Mother Nature. So I am basically Mother Nature on the top and my friend is the dying Earth, the dying aspects of our planet. So this was a very political image and environmental damage, trying to bring awareness to just the destruction where we're wreaking havoc on our planet. So this is me trying to save the planet. How far
Nick VinZant 31:59
down would you be there?
Linnea Snyderman 32:01
Um, this was pretty shallow. So maybe, maybe it's five feet deep. Okay. Really not? Yeah, so we had to be kneeling, we couldn't be vertical. Otherwise we'd be out of the water. But I just love the way you get the the trees up above. And I always love getting the opportunity to shoot in nature. It's it gives a very different look to the image than if you're just shooting in a pool. This was in the ocean. There's two of us in this image. Actually,
Nick VinZant 32:26
I had to look at it for a while. I was like, Wait, is that one person? Zoom?
Linnea Snyderman 32:30
Yeah, it reminds me of like a nautilus shell. This was created in the Bahamas with photographers, Xena Holloway. And she is, in many people's opinion, the best, the best of the best underwater. But yeah, I just absolutely love this image. You can't tell whose arms or legs or what's going on. And she might have edited out some limbs as well. But you can just see the beautiful sand on the bottom. And then she rotates the images. Well.
Nick VinZant 32:59
Yeah, I can't tell who's whose. Whose part is who's there.
Linnea Snyderman 33:03
Right. I'm actually I'm the I always thought I was the top person. I'm actually the bottom, the bottom model. And those are my arms kind of over her.
Nick VinZant 33:13
Like you took the moment you weren't even able to like which way which 1am I? Yeah, exactly. It's funny. Oh, where is that?
Linnea Snyderman 33:21
Well, this the the Playboy photographer, Ed Freeman. He's just incredible. I love working with him. This was in a pool in Los Angeles as well. And we actually put a mirror on the bottom of the pool. And so that that's what gives that reflection on the bottom instead of the surface of the water. Oh,
Nick VinZant 33:41
that makes sense. Right? I was wondering like, Okay, where did how did he do that? Yeah. Yeah, I don't know how he did it.
Linnea Snyderman 33:49
Do you want a very literal concept? Or do you want something a little more, you know, abstract. And it all just depends on your communication with the photographer and what you're going for. Sometimes I come in with a concept, sometimes they come in with a concept. And sometimes we'll combine our ideas as well, there's so many more levels to it, when you see it. There's so many levels, and each photographer is so different in their approach to it. So, you know, some people will just shoot with the same one or two photographers I shoot with so many different photographers, which means I have to adapt to each of their styles. The only thing that I keep really consistent with photographers, which comes from me as I like to do three breaths with the photographer each time before I submerged. And that's that's if they're free diving with me and not on scuba. But if they're just going down with me, I like to have eye contact with them so that I know they're ready. And no one's running out of breath. We give three big breaths and they'll kind of go down a little bit before me and to get settled and then I'll I'll let out my air and go down on the next on the last breath. So that is how I like communicate with my photographer's every time but they're always asking different things with me. And that's really fun as well.
Nick VinZant 35:05
That's pretty much all the questions that I have. Is there anything that you think that we missed or anything like that? Or how can people get a hold of you learn more about this?
Linnea Snyderman 35:14
I think we covered a lot. I mean, there's always more to delve into, to dive into, but I'm mainly on Instagram underwater Linnea and I have a Tik Tok as well, YouTube. I do a lot of content, myself, I love to create music videos, and commercials and things like that on my own. Because sometimes if the work isn't coming to you, you have to create it on your own. And that's the world we live in this day and age.
Nick VinZant 35:43
I want to thank Linnea so much for joining us if you want to connect with her, we have linked to her on our social media accounts. We're Profoundly Pointless on tik, Tok, Instagram and YouTube. And we've also included her information. In the episode description. If you want to see some of the things that we talked about the images and the videos, there really is something special about them. The YouTube version of this episode will be live on August 17, at 4:30pm Pacific. Okay, I want to take a second and thank one of the sponsors of our show. HelloFresh HelloFresh is farm fresh food pre portioned ingredients that can be delivered right to your door. And we all know that fall is right around the corner. And the summer slowdown is coming to an end and it's gonna get really busy. And I can speak from experience just having something there like HelloFresh, where you can just, it's premade it's good, you don't have to think about it, you can prepare some of these recipes in 15 minutes or less. And you get this amazing variety, where not only can you just put something together really quickly, but it's gonna taste really good. It's pretty cost effective, honestly, 25% cheaper than takeout. So I I've used it before, I thought it was fantastic. And right now, they are offering a special discount to our less our listeners, all you have to do is go to hellofresh.com/fifty pointless and use code 50 pointless for 50% off. plus free shipping. That's HelloFresh America's number one meal kit hellofresh.com/fifty pointless and use code 50 pointless for 50% off, we'll put a link and the code in the description. Okay, now let's bring in John Shaw and get to the pointless part of the show. I have to say though, we had some massive technical difficulties. So the only thing that we were able to get is the top five. But I think it's one of our better top five. I think there's going to be a lot of strong opinions about if these are really the top five. All right, so our number for our top five is top five TV show theme songs. What's your number five?
John Shull 38:25
Yeah, so it was a lot of there's a lot on my list. It's hard to narrow down just to five but we'll start number five off at a friend's
Nick VinZant 38:32
I think friends is overrated. I think friends is one that a lot of people would go to, but ultimately, I think the song is good, but it doesn't really set me up for the actual show. As much as some other ones that I personally would put on my list. My number five is the Addams Family. Good. Turn, turn, turn, turn, turn,
John Shull 38:55
and definitely a good one. So my honorable mention though.
Nick VinZant 39:02
Okay, okay, so number four.
John Shull 39:04
My number for the Brady Bunch theme.
Nick VinZant 39:07
Y'all come on. Are you going old school all the time? Brady budge.
John Shull 39:11
I mean, but they've transcended generations.
Nick VinZant 39:17
I don't actually know it. Can you do this? The song?
John Shull 39:20
The Brady Bunch. Everybody's favorite family? No, I don't know. I just I know that it's a jingle that I can't think of at the moment.
Nick VinZant 39:32
So how are you going to put it on your list then if you can't even do what it is
John Shull 39:35
because I'm a fraud.
Nick VinZant 39:38
Okay, okay, well, that's completely fine. My number four is the Fresh Prince of Bel Air.
John Shull 39:45
Okay, I definitely have that one up on the list.
Nick VinZant 39:48
Okay, you have it a little bit higher to Yes. That's the only one that I would say and I'm not knocking the TV show but that's the only one that I would say that's held back by the show itself. That theme song for that is better than the show Out.
John Shull 40:01
Oof, man, I wouldn't say that for any theme song. But yeah, that I don't agree with that at all.
Nick VinZant 40:09
What's your but the line that jumps out to me is you move with my hand on the bell there. That's the one that I immediately remember.
John Shull 40:15
Yeah, I mean, moving with my uncle Bellaire went to the house to give them knuckleheads out there co shooting. Oh, wait, that's not
Nick VinZant 40:26
Oh my god. That's you just mix that up. And like, with Eazy E, that's Eazy E. I don't know if I should be impressed or disappointed because you got those two together, which is kind of like,
John Shull 40:40
Yeah, let's just say that if this if this episode makes it out on Wednesday, it's a fucking miracle.
Nick VinZant 40:46
It is a miracle. We honestly like you did a fantastic job of struggling through life. And that's what it is. That is the ultimate lesson that I would like to teach my children and if I could ever impart some wisdom, like you don't always have to be moving forward by leaps and bounds. Sometimes you just got to move forward by a millimeter. All you got to do is move forward. And even though we had all these struggles, like you persevered, you didn't give up and that's winning the battle no matter what the outcome is. You won the personal battle John, congratulations, man. I think I'm pretty proud of you actually. Right now.
John Shull 41:16
I actually have not I wanted I want a full 45 minute record session instead of the last hour and a half getting 10 Second blurbs here. Anyways, my number three and I give the guy a lot of shit, but I feel like it has to be on here is Mr. Rogers Neighborhood?
Nick VinZant 41:34
Oh, yeah. I can't I mean, I remember that a little bit. That's to me the Sesame Street song is a little bit better than Mr. Rogers Neighborhood.
John Shull 41:45
Yeah, I mean, you're you're I mean, you're not wrong. Listen, I once again, screw Mr. Rogers. He has some skeletons in his closet, I'm sure. But
Nick VinZant 41:53
not to Sesame Street is a good song. I would put the theme song from bluey up there as well. That's going to be a legendary theme song
John Shull 42:01
dad doo doo doo doo mom. Yeah, yeah, that one's been
Nick VinZant 42:05
go. There really isn't. Oh, man. That's a whole discussion though. Is there a good TV show with a bad theme song or entrance? Like ah, this is awful.
John Shull 42:17
Yeah, remember? Well, Oh, you mean a bad themes song for a good TV show?
Nick VinZant 42:22
Yeah, theme song Intro Music whatever we like, oh, that's awful. But the show is great. No,
John Shull 42:29
they usually go hand in hand right if the show is good as a good theme song.
Nick VinZant 42:33
That is true. I can't really think of any good shows with bad theme songs or intros. My number three is the Simpsons.
John Shull 42:40
They're all my honorable mention. Yeah, I mean, I don't actually really remember it except for the end with you know, The Simpsons.
Nick VinZant 42:53
I remember the beginning in the end. It's a hard theme song to just did to distance from the visuals. That would be the only thing.
John Shull 43:01
Okay, what what do you mean distance from the visuals? What does that mean?
Nick VinZant 43:06
I think of when I'm, like I picture what's happening in the intro more than I think of the song. Okay, like my number one, like you could do the song by itself. But if the Simpsons like, I got to kind of see it to go along with it. What's your number? What's your number two?
John Shull 43:26
Southpark
Nick VinZant 43:29
Oh, that is a good one. But
John Shull 43:35
you never knew what he was saying. Right? I mean, you still don't know.
Nick VinZant 43:39
That might be the best theme song where you don't actually know any of the words.
John Shull 43:45
Yeah, you're probably right on that one.
Nick VinZant 43:48
Right. Yeah, I can. People setting something how do you neighbor,
John Shull 43:53
people shouting hurry, neighbor.
Nick VinZant 43:57
Ample parking. I remember that. And I didn't understand. I didn't understand that at the time. Like, oh, what? Who cares about ample parking, and then you become an adult and you're like, oh, good parking is is pretty essential geniuses, those two geniuses. My number two is the Soprano's.
John Shull 44:15
So I've never seen the sopranos I looked at a couple of lists, and it was high on the list. So I'll say sure, but I've never actually seen an episode of The Sopranos.
Nick VinZant 44:24
It's very good theme song. It's an iconic theme song. I think it's probably I would make a strong argument that HBO, HBO as a company or whatever you want to call it has by far the best intros. A you see an HBO intro you're like, Whoa, and then you see any other kind of thing and you're like, I just don't understand why people don't hire the HBO people like they're clearly the best at making any kind of intros
John Shull 44:49
because the HBO people are making plenty enough money where they are they do not need to go anywhere else.
Nick VinZant 44:55
Well, yeah, that's probably true. But it is amazing. It's like how come you guys get this right every sing Little time and nobody else ever gets it right
John Shull 45:03
you know and save other shows don't get it right but whatever. My number one raw
Nick VinZant 45:10
oh god why
John Shull 45:14
I'm kidding it's a that actually was on my honorable mention Rawhide but no Fresh Prince of Bel Air is my number one it's just too catchy. Yes. Yeah, it's too. I mean show came out what late 80s, early 90s mid 90s I mean, it's look what it spawned. Look people you know, it's easily I would say it's a second most recognizable theme song on my list outside of the friend song.
Nick VinZant 45:41
My number one is the Game of Thrones song. I think that that is the best intro song because it sets the stage for the whole episode. As soon as you heard that music, you're like, oh, yeah, it's Game of Thrones time. The you don't feel that way about any about friends about Fresh Prince of Bel Air. That theme song made that show and event.
John Shull 46:02
I mean, you were definitely jacked up and tuned in for it. Like as soon as that hit at eight o'clock. You knew you were in for a Game of Thrones episode. And you were there. That's that's not a bad choice. I don't know if it's I don't think it's number one. Plus is not really. I mean, it is a theme. But I don't know. Yeah, it's fine. It's fine. It's the shouldn't be number one, but it's fine to be on the list.
Nick VinZant 46:26
I think it should be number one. I think it should be number one. I don't really that that to me. It's like, Dun dun dun dun dun dun. I like all right, it sets you up. And not only did it set you up like it got you excited about the show. That music mimicked kind of what was going on in the show like intrigue. Suspense sets. Yeah, they got rid of that. Lots of did you have that big? I don't remember seeing a lot of dicks. Honestly, in Game of Thrones. I don't remember seeing just straight Dick shots.
John Shull 47:01
Or you fro threat suit as I said diksa that I came back. And all I heard was you say dick shots. So I'm gonna say yeah,
Nick VinZant 47:07
yes. If there's if if you see a dick shot now John and I are both straight married men. No, no. Judgment or anything. If that's not your thing? What if there's a dick shot on TV? Are you going to keep watching it? Or do you kind of turn away?
John Shull 47:24
That's uh, I mean, I won't turn away. I'm not gonna pause it. But you know, I'll, it's there. I'm not gonna go I'm not gonna go one way or the other.
Nick VinZant 47:35
I'll put my hand up be like, All right. I don't need to see that. diksha unless it's like a funny Dick shot but otherwise I'll he'll be like, Okay, I can skip that part.
John Shull 47:43
I'm not gonna lie to you. Most of the dick shots that happen I don't realize are coming. And then that's there. And I'm like, Oh, that's a that's a dick on the TV.
Nick VinZant 47:52
It is very surprising that you can generally see female nudity coming but male nudity in a show is always a surprise.
John Shull 48:01
Also, we sound pretty much chauvinistic right now or whatever, because we're talking about dicks and that's going ooh, do you think women do that? When a boob shots on the TV? Probably not.
Nick VinZant 48:12
No, but a woman's body objectively whatever your sexual interest in a woman's body is a better looking thing than a man's body. Oh, yeah. Like a man's like use like a wiener just looking. We're like, it's just like this thing. That's It's like somebody took an elephant's trunk and just shrunk it way down and then stuck it halfway through, way down. It's way down. Right? I'm thoroughly convinced that I don't know if there is a God or not. That's my personal belief system. But I've thoroughly convinced the Dix were a complete joke to him, or her or whatever God is, it would be less like, Hey, watch, watch this. I'm gonna put that right there.
John Shull 48:55
There was definitely way cooler things you could have given the male species to have sex with than that, but it's fine. It's practical. It works most times.
Nick VinZant 49:05
I do find it hilarious that despite all of our sophistication, we're just like, bumping around like that. Like that's so stupid. Really? Like how could you ever How could any person ever think that they're like cool or hot shit? When you like do that? Just
John Shull 49:28
like we're not cool. No. I will argue to this day that there is not one person on the face of this earth. That looks cool having sex? No, you can't
Nick VinZant 49:37
I don't think there's a single person can but anyway, would you agree with my premise that you see female nudity? Common you're like, Oh, God, it's common. But male nudity is always kind of a surprise. Like, bam, there it is.
John Shull 49:50
Yeah, by far yeah. It's a lot of times I just bring out the dick you don't even know and you're like, oh shit, and there's dicks.
Nick VinZant 49:58
There it is. Right? It's always this prize, which is fine once again,
John Shull 50:02
I don't you know, it doesn't matter your sexual orientation or what you're into. If a dick pops up on the screen, you're gonna be surprised one way or the other.
Nick VinZant 50:09
Yeah, it's more surprising. There's a level of surprise. It's not just like boom titties. No, but it is like, boom wiener?
John Shull 50:16
Yeah, we enter.
Nick VinZant 50:18
Okay. What's your honorable mention?
John Shull 50:22
This these have Scooby Doo. Cheers, which I only put cheers on because everyone knows your name. SpongeBob you know, just because once again, I think SpongeBob is Oh, that's a good one up to a bluey. To me, Simpsons. I also have the Flintstones but you know, couple old school pics there at the end.
Nick VinZant 50:46
I have some in there that are on my honorable mention. I have cheers as well. I have X Files. That's it sets up the show. That's how I went with it. Maybe it's not musically, but it sets up the show you like to what hasn't gotten me? I don't know how to go.
John Shull 51:06
Yeah, I went way too high. But yeah, I
Nick VinZant 51:07
think that's how it goes either. So
John Shull 51:09
I think you're
Nick VinZant 51:10
absolutely. How does it like you can picture it. It's like as soon as you you can picture it. But as soon as you try to grab it, it slips away from you.
John Shull 51:18
Well, like most things. I don't know. I feel like let me see if we can get it hold on
Nick VinZant 51:31
that's how it goes. That's a good theme song man that sets you up for the episode, you would listen to it. Whereas I think that a lot of the ones that you put on there, you would skip right over it. You wouldn't do that with Game of Thrones. You would watch it.
John Shull 51:45
Well. I don't I didn't have a lot of dramas on my I don't think I had one drama on my list. You know, most of mine were like, shows where you the theme came on? You're like awesome, like fantastic. Here we go. Like it's gonna be a fun time. You have on all these shows with Dixon them?
Nick VinZant 52:04
Well, yeah, dude, Game of Thrones. Maybe. So I watched it. I have Jeopardy in there.
John Shull 52:10
Yeah, I mean, yeah. Boring. But
Nick VinZant 52:13
I think that there's a Jeopardy is a pretty good it's iconic, though. Like, oh, yeah, that's easily you have to agree. That's easily the best game show theme song.
John Shull 52:24
Yes, by far, I don't even know if I can name you other ones.
Nick VinZant 52:28
I don't know what any maybe. I don't know what any of the other ones even sound like?
John Shull 52:34
I one that I left off that I just thought of I don't know if I would have put it on my list other than my honorable mentioned. But Do do do. Do you have the guts?
Nick VinZant 52:44
Oh, I don't remember that one. I think that there's a lot that are like supposedly really good that are before our time, like all in the family. The Jeffersons? Yeah, those are before our time.
John Shull 52:56
You know, we only include things from our time. Most times No,
Nick VinZant 53:00
no. To do to the dealerships or partners in the sky. Anyway, well, actually, I think this actually worked. I think we actually got through this. Oh, okay, that's gonna go ahead and do it for this episode of Profoundly Pointless. I want to thank you so much for joining us. If you get a chance, leave us a quick review. We really appreciate it really helps us out. And let us know what you think are some of the best TV show themes. I know the Game of Thrones, like maybe that song isn't as good, but I think it's set the mood for the show. Better than any other theme song. Maybe Fresh Prince is pretty far up there too, in terms of that. And I gotta give John credit. We had real big technical difficulties and he fought through it. Normally he's a guy who gives up pretty easily but not anymore. So brand new John, proud of him.