The third (and final) chapter in our three-part interview with Oscar-winning editor Paul Hirsch sees us asking many questions about some other little movie he made called “Star Wars,” including him debunking the rumors of who really wrote the opening crawl, his surprising thoughts on the prequel trilogy, plus he comments on the “special edition” versions of the original trilogy. He also talks about his relationship with John Hughes and, yeah, probably says some stuff about “Mission: Impossible” too.

We continue our conversation with Oscar-winning editor Paul Hirsch, who has edited two “Mission: Impossible” installments and is one of the greatest editors of all time. In this week’s wide-ranging discussion, topics include his long-standing relationship with Industrial Light & Magic, his thoughts on screen-size, and confirmation that they actually shot a sequence for “Ghost Protocol” where Paula Patton cuts a bad guy open and manually keeps his heart pumping. (Yes, seriously.) You’ll get so much insight into the making of “Ghost Protocol” that you might faint. But don’t faint.

Yet another Oscar winner joins us this week as we chat with Paul Hirsch, genius editor of both the first and fourth “Mission: Impossible” installments! In this jam-packed episode you’ll hear about Hirsch's relationship with Brian De Palma (including a story about De Palma shooting his wedding), a detailed explanation of how Danny Elfman replaced Alan Silvestri, and an incredible anecdote about how Brad Bird approached editing. You’ll learn a whole lot and you’ll have fun doing it.

In part two of our awesome conversation with StarTrek.com managing editor Kendra James, we continue our deep dive into the marketing of the franchise, this time looking at the three most recent films. We talk about how things changed with the “Mission: Impossible – Ghost Protocol” trailer, talk about our favorite posters and trailers, and get Kendra to rank the movies (from least great to greatest)!

This week we talk to StarTrek.com managing editor Kendra James about the marketing of the first three "Mission: Impossible" installments, including breaking down the trailers and the posters, once again get into Alan Silvestri's unused score for the original film, and, in a Light the Fuse first, we play clips from the movies! That's right, we could be sitting right next to our composer Kevin Blumenfeld in a court of law!

Hope your mask is on tight, because the second half of our Barney Burman interview is a wild ride! We talk about the benefits of Philip Seymour Hoffman having a large head, what sequence from “Star Wars: The Force Awakens” was originally intended for JJ Abrams’ “Star Trek,” and why he didn’t return to do the make-up for “Mission: Impossible – Ghost Protocol.” Also learn why the Oscars aren’t so glamorous and hear Barney’s official “Mission: Impossible” rankings!

This week we talk to Oscar-winning make-up effects artist Barney Burman, who provided the make-up effects for "Mission: Impossible III." We get into his history in the business, including the famous movies his family worked, and dive deep into the secrets of "III," including doing the masks on Tom Cruise and Philip Seymour Hoffman. Plus, you know you want it, we get into the origins of Les Grossman, Cruise's character from "Tropic Thunder" (Barney also did those effects).

This is it – the episode you’ve been waiting for! Our first-ever mailbag episode! That’s right, we’re tearing into listener questions from as far away and exotic as the UK, Australia, the Netherlands, even Canada! We also discuss “Mission: Impossible” as it relates to the 007 franchise, whether or not Ethan will go into space in parts 7 and 8, and what we can glean about the sequels from Christopher McQuarrie’s Instagram account.

On this week’s episode we take a look at a “Mission: Impossible” production from the ground level, as camera PA Luke Allein gives us details about the domestic shoot of “Mission: Impossible III.” Learn what it’s like working with cinematographer Dan Mindel, which cast member’s voice carried above all others, and how Tom Cruise rewarded the crew on the super-long days.

In the conclusion of our extensive making-of “Mission: Impossible III” saga, we learn about a promotional stunt gone spectacularly wrong, detail the insane premieres, go over its box office results, and agonize over the special features from a lost HD-DVD edition of the movie. Ah, what could have been.