This in addition to acting as godfather of JEM, a pyrotechnic business run by effects supervisor Elia Popov, has compelled Morris to limit his personal interaction on set, though it has not dampened his ambition. That's more or less true. I was a Sputnik kid. When Sputnik went up in 1957, my school in southeastern Colorado started giving us material to make rockets with. The difference between making a rocket and a bomb is how big the choke is.
Rockets go up, a parachute comes out, they come back down.
It took me a very short period of time to realize that I could put warheads on them, and I went on from there. I started in legit theater in Colorado, which had a small mixed local union. This meant that when you got a call from a business agent, you'd ask what you should bring. You'd have your sewing kit, your electrician's kit and your grip kit and you'd bring whatever you needed to the theater. One day you could be the carpenter, the next day you were liable to be the wardrobe guy and the next day you could be running projectors.