WEBVTT - Laverne Caracuzzi 0:00:01.040 --> 0:00:03.760 Check out the new podcast I Am Kobe. Do you 0:00:03.760 --> 0:00:07.200 want to understand how Kobe Bryant achieved? Is on equal determination? 0:00:07.960 --> 0:00:10.200 How did he come to his incredible passion to win? 0:00:10.960 --> 0:00:14.440 In I Am Kobe, we reveal intimate and never before 0:00:14.480 --> 0:00:17.159 heard tapes of Kobe when he was a teenager, just 0:00:17.320 --> 0:00:20.040 as he was starting to glimpse his own greatness. It's 0:00:20.040 --> 0:00:23.200 about the making of an icon. We weave together these 0:00:23.200 --> 0:00:27.120 tapes with Kobe's high school coaches, his friends, and the 0:00:27.160 --> 0:00:30.000 figures who knew him in his youth. All episodes are 0:00:30.000 --> 0:00:32.880 out now so you can binge the whole thing. Listen 0:00:32.920 --> 0:00:35.320 to I Am Kobe on the I Heart Radio app, 0:00:35.440 --> 0:00:41.280 Apple Podcasts, and wherever you get your podcasts. I'm Joe Piazza, 0:00:41.680 --> 0:00:44.880 host of the podcast Under the Influence. If you tuned 0:00:44.920 --> 0:00:47.000 into our last season, you know that the world of 0:00:47.040 --> 0:00:52.240 mom influencers on Instagram contains multitudes. Yes, there are pretty 0:00:52.280 --> 0:00:55.520 pictures and gorgeous kids, and yes there's lots of money 0:00:55.800 --> 0:00:58.680 behind a lot of those pictures. But there's also something 0:00:58.800 --> 0:01:01.800 much more dark and complicated going on in the background, 0:01:02.320 --> 0:01:04.440 and that speaks to everything that is wrong with how 0:01:04.480 --> 0:01:07.200 we treat women in the world. On season two of 0:01:07.280 --> 0:01:09.600 Under the Influence. We're advocating for the women who make 0:01:09.640 --> 0:01:13.000 content and the women who consume it. We're going into 0:01:13.000 --> 0:01:15.560 some of the darkest corners of the social media universe, 0:01:15.959 --> 0:01:18.480 and we might just have a plan to shut it 0:01:18.520 --> 0:01:22.880 all that held down. Listen to Season two of Under 0:01:22.920 --> 0:01:25.640 the Influence with Joe Piazza on the I Heart Radio app, 0:01:25.920 --> 0:01:30.240 Apple Podcasts or wherever you get your podcasts. I'm Paris 0:01:30.319 --> 0:01:34.000 Hilton and this is Trapped in Treatment, a weekly podcast 0:01:34.040 --> 0:01:37.840 of shocking survivor experiences and stories from an industry plagued 0:01:37.880 --> 0:01:42.080 by controversy. With my host Caroline Cole and Rebecca Mellinger, 0:01:42.480 --> 0:01:45.679 we will uncover the truth of one team treatment facility 0:01:45.800 --> 0:01:51.680 each season. First up, Provo Canyon School. This one is personal. 0:01:52.880 --> 0:01:55.720 Listen to Trapped in Treatment on the I Heart Radio app, 0:01:55.800 --> 0:02:05.120 Apple Podcasts or wherever you get your podcasts. Hi am 0:02:05.200 --> 0:02:08.640 Laverne Karacuzi and I was the department head makeup artist 0:02:08.720 --> 0:02:19.960 on the Office. Hello everybody, and welcome back. Uh. It's 0:02:20.000 --> 0:02:24.000 a new week and that means it's time for another 0:02:24.480 --> 0:02:28.480 episode of the Office Deep Dive. As always, I am 0:02:28.520 --> 0:02:32.640 your host, Brian Baumgartner. Today we are bringing on a 0:02:32.720 --> 0:02:35.360 guest that I don't have to make up because she 0:02:35.520 --> 0:02:39.240 made me up, because she does make up, get it. 0:02:39.919 --> 0:02:43.600 She is also the one who made us look fresh, well, 0:02:44.400 --> 0:02:47.600 sometimes made us look like we had extremely bad sunburn 0:02:47.880 --> 0:02:51.000 or in my case my worst week on the show, 0:02:51.480 --> 0:02:54.960 like Michael Moore. Let me tell you, fake hair on 0:02:55.000 --> 0:02:59.000 the face not comfortable. Uh. This woman had all the 0:02:59.040 --> 0:03:01.600 skills to give you a black guy or to make 0:03:01.639 --> 0:03:04.840 you look good even if you were, say, under a 0:03:04.880 --> 0:03:10.960 waterfall at Niagara Falls. Laverne Kara Kusi Laverne was the 0:03:11.120 --> 0:03:15.280 makeup department head on the Office, which, let me tell you, 0:03:15.440 --> 0:03:19.840 this was a huge task, right. We had a huge cast, 0:03:20.240 --> 0:03:22.280 so there were a lot of people to get ready 0:03:22.400 --> 0:03:25.440 every day and not a whole lot of time. In fact, 0:03:25.919 --> 0:03:30.600 the battle plan she used then is still used across 0:03:30.639 --> 0:03:33.560 the board on so many shows. But she was so 0:03:33.680 --> 0:03:38.480 much more than that. She was a friend, a a therapist, 0:03:38.680 --> 0:03:43.480 a shoulder to lean on. Really just someone to look 0:03:43.520 --> 0:03:48.480 forward to seeing every single day, usually around five o'clock 0:03:48.640 --> 0:03:53.080 in the morning. And honestly, she probably knows more secrets 0:03:53.160 --> 0:03:56.240 about the Office cast than anyone. I mean, think about it. 0:03:56.560 --> 0:03:59.680 She got hours of one on one time with all 0:03:59.720 --> 0:04:02.400 of the actors day in and day out, just getting 0:04:02.400 --> 0:04:06.280 closer and closer all of the time. But don't get 0:04:06.280 --> 0:04:11.000 any ideas our secrets are definitely safe with her. You'll 0:04:11.040 --> 0:04:14.000 find her work on so many shows, from Judging Amy 0:04:14.160 --> 0:04:17.839 to Monk to The West Wing and Animal Kingdom. But 0:04:18.040 --> 0:04:23.320 perhaps her greatest professional achievement thus far was getting her 0:04:23.400 --> 0:04:26.359 name on a Volunteer of the Year plaque that was 0:04:26.400 --> 0:04:29.919 placed behind Creed's desk in one of our episodes. So 0:04:30.839 --> 0:04:33.480 there's a fun little Easter egg for you. But in 0:04:33.480 --> 0:04:37.679 all seriousness, Laverne I love her. She was a joy 0:04:37.920 --> 0:04:40.880 to have on our crew. I was so happy to 0:04:40.960 --> 0:04:43.599 reconnect with her for the first time in many years. 0:04:43.839 --> 0:04:48.440 So get ready to be dolled up with the one, 0:04:49.000 --> 0:05:03.120 the only Laverne Karakuzi Bubble. I love bubble, aging bubble 0:05:03.120 --> 0:05:18.120 and squeaker cookie every moment lived over from the nut. Yeah, 0:05:19.640 --> 0:05:22.920 I know, it's been so long. Oh my god, I'm 0:05:23.040 --> 0:05:27.760 so happy to see you. My boy. I knows changed. 0:05:27.800 --> 0:05:34.159 I remember when I used to give you cof God, 0:05:34.160 --> 0:05:35.880 I have to put glasses on too if I have 0:05:35.960 --> 0:05:37.560 to look at it to look at No, you don't 0:05:37.600 --> 0:05:39.000 have to look at anything. I just have to look 0:05:39.000 --> 0:05:43.880 at you now. You when Okay, when did you start 0:05:43.960 --> 0:05:47.960 on the Office? Okay, So I started the Office when 0:05:48.560 --> 0:05:53.239 it was the pilot and the first six episodes, which 0:05:53.320 --> 0:05:55.680 you guys considered to be a first season, which in 0:05:56.279 --> 0:05:58.080 as we know in the normal TV world, is not 0:05:58.160 --> 0:06:01.440 the first season. So I started after that sixth episode, 0:06:01.480 --> 0:06:04.599 So you you was just the first six that you 0:06:04.640 --> 0:06:07.479 weren't there, correct, But I was there from the very beginning, 0:06:08.320 --> 0:06:13.279 Like I remember specific things, like I remember exactly where 0:06:13.279 --> 0:06:16.080 I was on the freeway when my telephone rang and 0:06:16.080 --> 0:06:18.200 You're like, I hear You're not coming back to the office. 0:06:18.520 --> 0:06:20.839 What's going on? And you started talking to me and 0:06:20.839 --> 0:06:25.080 I was like, well, I guess I'm not invited back. 0:06:25.200 --> 0:06:27.479 And then it started this whole big thing. And then 0:06:27.920 --> 0:06:30.240 when I spoke to Ken Zivornac, he was like, well, 0:06:30.240 --> 0:06:35.680 you know, Brian and Leslie David, and I think it 0:06:35.720 --> 0:06:38.120 was mostly you two were really rallying for me to 0:06:38.120 --> 0:06:40.520 go ahead and be there, which I was so grateful 0:06:40.600 --> 0:06:42.840 for it. And then I remember you and I were 0:06:42.839 --> 0:06:45.200 still on the phone even by the time I got home, 0:06:45.600 --> 0:06:47.200 and I was kind of like walking around in my 0:06:47.240 --> 0:06:49.560 front yard like thinking about it. Like, yeah, I still 0:06:49.560 --> 0:06:53.320 want to be there if I'm welcome back there, you know. Right? 0:06:54.120 --> 0:06:57.760 And then what were you doing right before you did 0:06:57.839 --> 0:07:00.280 Freaks and Geeks? Right? I did Freaks and Geeks. I 0:07:00.400 --> 0:07:03.560 shot that at Raley Hollywood, and I always thought when 0:07:03.560 --> 0:07:06.359 I did Freaks and Geeks, I always thought, God, what 0:07:06.440 --> 0:07:09.320 a great experience. Am I ever going to experience this 0:07:09.560 --> 0:07:12.120 same kind of feeling again. It's kind of like when 0:07:12.160 --> 0:07:14.720 you finish a job and you go like, oh my god, 0:07:14.760 --> 0:07:17.560 am I ever going to work again? Yeah? I feel that, 0:07:20.480 --> 0:07:22.640 But it was that kind of feeling that I thought, Okay, 0:07:22.640 --> 0:07:25.120 Freaks and Geeks, Am I ever going to experience that again? 0:07:25.240 --> 0:07:29.400 And then, as you know, we're like siblings, you know, 0:07:29.440 --> 0:07:32.320 everybody's almost kind of arguing with one another, and it's 0:07:32.400 --> 0:07:35.360 like everybody was getting in everybody else's business because they 0:07:35.400 --> 0:07:37.680 felt like they were entitled because we had been around 0:07:37.680 --> 0:07:40.160 each other for over twelve hours a day. I mean, 0:07:40.240 --> 0:07:43.920 that's the thing is that the the hair and makeup department. 0:07:44.080 --> 0:07:48.600 What people don't realize maybe is like in terms of 0:07:48.840 --> 0:07:51.840 people on the crew who are closest with the cast, 0:07:52.920 --> 0:07:57.160 there's nobody closer because you you hear and see everything, right, 0:07:57.680 --> 0:08:00.840 I think that hair and makeup are deaf aitely the 0:08:00.960 --> 0:08:04.440 closest to the cast. That's why I try to run 0:08:04.560 --> 0:08:06.480 as tight of a ship as I can, where it's 0:08:06.520 --> 0:08:11.200 like whatever information you hear from anybody, regardless of who 0:08:11.200 --> 0:08:13.120 it is that walks in and out of that door, 0:08:13.560 --> 0:08:16.400 is not to be left from that trailer or to 0:08:17.040 --> 0:08:19.520 you know, you know what I'm talking about. You know, 0:08:19.600 --> 0:08:21.800 I know, yes, we're the first person you see in 0:08:21.840 --> 0:08:25.160 the morning, and so you know, you could be having 0:08:25.200 --> 0:08:26.640 a bad day. But at the end of the day 0:08:26.760 --> 0:08:29.280 you have to leave that outside the trailer doors and 0:08:29.360 --> 0:08:31.280 kind of go in with a smiley face, and then 0:08:31.280 --> 0:08:33.360 when everybody leaves you can break down in tears or 0:08:33.400 --> 0:08:38.520 whatever you need to do. It's it's intimate work at times, 0:08:38.800 --> 0:08:42.120 you know, to be working with someone on their face 0:08:42.320 --> 0:08:45.400 or an issue that they might have or whatever else, 0:08:45.480 --> 0:08:49.480 and and it it just sort of it's not intentional, 0:08:49.559 --> 0:08:52.480 and I don't know, maybe it violates rules, but it 0:08:52.520 --> 0:08:57.560 does become almost a therapist type situation too, when you're 0:08:57.559 --> 0:09:04.480 talking about people's outside lives getting neglected at times, and 0:09:04.840 --> 0:09:07.280 you know, the work being so important and on that show, 0:09:07.360 --> 0:09:11.080 I think also the work was really important to everybody. 0:09:11.160 --> 0:09:15.640 Everybody wanted to be good, not for themselves, but it 0:09:15.720 --> 0:09:18.520 really was more a team. I feel like, I feel 0:09:18.600 --> 0:09:21.360 like everybody wanted to be there. It wasn't like they 0:09:21.360 --> 0:09:24.160 were forced to be there. It wasn't like, oh, I 0:09:24.240 --> 0:09:27.000 need a job, so therefore I'm going to go ahead 0:09:27.040 --> 0:09:29.840 and you know, just take this job. Everybody truly wanted 0:09:29.840 --> 0:09:32.839 to be there. And you know, gosh, there were plenty 0:09:32.880 --> 0:09:35.560 of times that not only did you know you have 0:09:35.679 --> 0:09:38.440 that one on one with an actor where they are 0:09:38.520 --> 0:09:41.160 spilling their guts to you, but you're also spilling your 0:09:41.160 --> 0:09:43.640 guts to them because you feel that bond with them. 0:09:44.120 --> 0:09:46.040 I mean plenty of times, you know I had been 0:09:46.080 --> 0:09:50.040 in tears for whatever reason, you know, I would be like, oh, 0:09:50.960 --> 0:09:53.680 we just sit there and talk. It's almost like the 0:09:53.760 --> 0:09:57.840 old timey hair salons, right, I mean, I understand you 0:09:57.920 --> 0:09:59.920 did make up, but right like the or like the 0:10:00.080 --> 0:10:03.520 barber shops for sure, or like you go in there 0:10:03.679 --> 0:10:06.200 and it's this like safe zone that you can talk 0:10:06.280 --> 0:10:09.640 about anything absolutely, because it's like when you see those 0:10:09.679 --> 0:10:12.520 old school movies. You know, you see like the girls 0:10:12.559 --> 0:10:14.120 that are in the nail salons and they're getting their 0:10:14.200 --> 0:10:18.600 nails done and they're talking very privately to their person 0:10:18.640 --> 0:10:22.600 that's doing their nails. Right, That's what we did. You 0:10:22.640 --> 0:10:25.319 guys came in early in the morning, and because we 0:10:25.400 --> 0:10:28.520 had everybody working and up at one time, we pretty 0:10:28.559 --> 0:10:31.520 much had everybody in the trailer. And even when we didn't, 0:10:31.760 --> 0:10:33.520 you guys would still go back to your trailer and 0:10:33.520 --> 0:10:35.160 do something, and you knew your friends were going to 0:10:35.280 --> 0:10:37.680 come in an hour later. So we'd always have like 0:10:37.800 --> 0:10:40.440 this big commotion of things kind of going on in 0:10:40.440 --> 0:10:42.199 the trailer and always have the A. D s come 0:10:42.200 --> 0:10:44.920 in there and say, okay, how much longer, how much longer? Well, 0:10:44.920 --> 0:10:47.840 we have to finish this story, and then we listen 0:10:47.880 --> 0:10:51.520 to Rain and Oscar go back and forth at one another. Yeah. 0:10:51.559 --> 0:10:55.520 That's what people don't realize is you know, on our 0:10:55.559 --> 0:11:00.800 show by the end, we had four makeup artists and 0:11:01.000 --> 0:11:05.080 four hair people. Right. Well, we originally started out the 0:11:05.120 --> 0:11:07.160 show where they thought that we could go ahead and 0:11:07.160 --> 0:11:10.880 get everybody ready at one time, would just I think 0:11:10.920 --> 0:11:14.400 it started out two and two, and then it was like, 0:11:14.520 --> 0:11:16.880 oh well, we'll just go ahead and have three and three, 0:11:17.160 --> 0:11:19.560 and then it was like four and four, and then 0:11:19.600 --> 0:11:22.360 remember we had that chart. It was our battle plan 0:11:22.520 --> 0:11:25.000 where it was color coded as to what actor was 0:11:25.040 --> 0:11:26.760 going to get their makeup done and who was going 0:11:26.800 --> 0:11:29.080 to get their hair done, and then the swapping of 0:11:29.080 --> 0:11:31.640 the chairs and they were done in fifteen minute increments, 0:11:31.840 --> 0:11:35.800 which makes me laugh now because since after The Office, 0:11:35.800 --> 0:11:38.360 I've gone on to other shows where they have that 0:11:38.480 --> 0:11:40.840 same chart and they'll go, oh, we have a battle plan, 0:11:40.880 --> 0:11:43.640 and I go, oh, well, that's interesting because I think 0:11:43.640 --> 0:11:47.080 you took that from our show way back when it's 0:11:47.160 --> 0:11:49.200 kind of like when you see these shows that are doing, 0:11:49.520 --> 0:11:52.679 you know, talking heads, I'm like, oh, really the talking 0:11:52.679 --> 0:11:55.760 Heads started originally with us. I almost kind of get 0:11:55.760 --> 0:11:59.640 a little bit territorial, right, Well, we had what I 0:11:59.640 --> 0:12:03.760 mean that times like sixteen to twenty actors that needed 0:12:03.800 --> 0:12:06.640 to be ready at the same time. So there are 0:12:06.640 --> 0:12:10.439 four you know, there's four hair and four makeup and 0:12:10.480 --> 0:12:13.440 then people have to flip flop, but that's still only 0:12:13.520 --> 0:12:17.640 eight people. So you guys would create this grid that 0:12:17.720 --> 0:12:21.200 people had to start coming in at you know, five o'clock, 0:12:21.280 --> 0:12:23.840 four thirty in the morning just to get everybody ready 0:12:23.880 --> 0:12:27.040 on time, right exactly, And there was no type of 0:12:27.160 --> 0:12:30.120 buffer scene like a normal TV so to speak, not 0:12:30.240 --> 0:12:33.080 that our show wasn't normal TV. But you never had 0:12:33.120 --> 0:12:35.040 like those buffer scenes where you could go like, oh, 0:12:35.120 --> 0:12:36.840 let's go ahead and get half the people ready, and 0:12:36.840 --> 0:12:38.520 then we have a buffer scene to then go ahead 0:12:38.559 --> 0:12:41.040 and get more people ready. It was like our buffer 0:12:41.080 --> 0:12:44.080 scene was a talking head and that literally, as you know, 0:12:44.120 --> 0:12:46.360 it was only one person. So that only gave us 0:12:46.360 --> 0:12:50.240 a certain amount of time. So I thank the office 0:12:50.440 --> 0:12:53.080 for that very reason because it's forced me as an 0:12:53.200 --> 0:12:57.240 artist to go ahead and really gain my speed. Because 0:12:57.280 --> 0:12:59.680 when they'll be like, oh, we have eight people we 0:12:59.720 --> 0:13:01.200 need to get ready, I was like, oh, that's a 0:13:01.200 --> 0:13:02.920 walk in the park. I can go ahead and do that. 0:13:03.240 --> 0:13:05.440 We used to get sixteen and twenty people ready at 0:13:05.440 --> 0:13:10.400 one time. How did you get into makeup? Um? Well, 0:13:10.440 --> 0:13:13.679 I always painted as a kid. You know. I used 0:13:13.720 --> 0:13:17.679 to go with my face just painted, so I knew 0:13:17.720 --> 0:13:20.240 like the idea of light color theory and how like 0:13:20.320 --> 0:13:23.000 different materials kind of worked with each other. And I 0:13:23.040 --> 0:13:26.480 would walk from my house in Toluca Lake to this 0:13:26.520 --> 0:13:29.280 woman's house and she used to paint in her garage, 0:13:30.120 --> 0:13:32.440 and uh so that kind of started. And I always 0:13:32.480 --> 0:13:34.960 wanted to be in the arts in one capacity or another. 0:13:35.679 --> 0:13:38.360 And then after I graduated high school, I went to 0:13:38.480 --> 0:13:41.160 community college and then I moved to London, and then 0:13:41.160 --> 0:13:43.440 I got a degree in fashion design, and then I 0:13:43.480 --> 0:13:45.720 still kind of dabbled a little bit in the arts 0:13:45.760 --> 0:13:49.040 and you know, doing makeup and stuff like that. I 0:13:49.080 --> 0:13:53.640 started originally doing commercials and I worked with one director 0:13:53.720 --> 0:13:56.800 for many, many years um in commercials, and then my 0:13:56.880 --> 0:14:01.880 first real TV job was Freaks and Geeks. And Freaks 0:14:01.880 --> 0:14:06.080 and Geeks was where I met Paul Fie and Jake 0:14:06.200 --> 0:14:09.679 Kasden and Seth Rogan and on and on and on. 0:14:10.000 --> 0:14:12.800 So how did you get that job? I got that 0:14:12.960 --> 0:14:16.640 job from I was doing a commercial and in between 0:14:16.640 --> 0:14:19.080 going ahead and doing commercials, I had been day playing 0:14:19.120 --> 0:14:21.880 on movies and TV stuff, and a friend of mine 0:14:21.920 --> 0:14:24.400 called me and said, hey, by the way, I need 0:14:24.440 --> 0:14:26.880 somebody to work with me on this new TV show 0:14:26.920 --> 0:14:30.280 called Freaks and Geeks. It's really simple makeup. These kids 0:14:30.280 --> 0:14:34.000 are young. And I thought, okay, and so I had 0:14:34.000 --> 0:14:36.400 to be really straightforward and said, well, I just want 0:14:36.440 --> 0:14:39.040 to let you know that I'm pregnant with my first daughter. 0:14:39.520 --> 0:14:41.240 I would love to go ahead and do the show. 0:14:41.760 --> 0:14:44.440 So basically, I that's how I got the job, and 0:14:44.480 --> 0:14:47.320 I did Freaks and Geeks, and um got to know 0:14:47.360 --> 0:14:50.800 everybody there. Then I had the baby in January, and 0:14:50.840 --> 0:14:53.920 then you know, years later I started running into like 0:14:54.040 --> 0:14:57.720 Linda Cardellini and Jason Siegel and people like that, and 0:14:57.760 --> 0:15:01.040 they would always ask how Savannah doing, How Savannah doing, 0:15:01.160 --> 0:15:04.240 and just because I was, you know, pregnant with her 0:15:04.240 --> 0:15:07.240 and I had worked the whole show being pregnant, So 0:15:08.080 --> 0:15:10.760 that was like a special moment for me. Whereas it 0:15:10.800 --> 0:15:12.920 was like even on the office when I would see 0:15:13.000 --> 0:15:17.160 like Angela being pregnant, it reminded me of when I 0:15:17.240 --> 0:15:20.080 went back to Freaking Geeks and when I was pregnant 0:15:20.480 --> 0:15:24.800 right right, and the hair and makeup world, I mean, 0:15:24.960 --> 0:15:29.040 it really is about the relationships, right Like you met 0:15:29.080 --> 0:15:31.720 this makeup artist who brought you onto Freaking Geeks, and 0:15:31.720 --> 0:15:35.120 then you you meet people and that's how it happens, right, 0:15:35.320 --> 0:15:37.400 it pretty much does. I mean, I feel, if you 0:15:37.520 --> 0:15:42.480 have a good attitude, it's really about relationships. Because as 0:15:42.520 --> 0:15:44.840 we know, there's a lot of you know, jobs that 0:15:44.920 --> 0:15:48.480 you often say to yourself, I wonder how they got 0:15:48.520 --> 0:15:51.200 that job, you know what I mean? And that's no 0:15:51.320 --> 0:15:53.720 disrespect to anybody, it's just the way that it is. 0:15:54.200 --> 0:15:57.680 You know, if you are a people person and you 0:15:57.720 --> 0:16:02.120 can do your job sufficiently, you know, and you have 0:16:02.160 --> 0:16:04.840 a good attitude, then obviously you're going to get brought 0:16:04.880 --> 0:16:08.720 onto the next one. Right. Yeah, do you remember anything 0:16:08.760 --> 0:16:14.120 about those early years? We had did six episodes and 0:16:14.120 --> 0:16:17.120 then we did six more and we were sent home. 0:16:17.480 --> 0:16:22.280 And I mean it occurs to me that the tremendous 0:16:22.320 --> 0:16:25.240 amount of trust and courage that you showed kind of 0:16:25.320 --> 0:16:30.120 stick with it over periods where you know, we were 0:16:30.160 --> 0:16:32.320 working oddly and we didn't know if we were going 0:16:32.360 --> 0:16:34.720 to keep going, but there was a trust in you 0:16:34.840 --> 0:16:37.480 to kind of stick with it through that time. Well. 0:16:37.560 --> 0:16:40.960 I just kind of feel as freelancers, whether you're above 0:16:41.000 --> 0:16:43.680 the line or below the line, you're a gypsy. You 0:16:43.760 --> 0:16:45.720 take your stuff, you show up at work. You know, 0:16:45.840 --> 0:16:47.880 you don't know. I've been on plenty of shows prior 0:16:47.960 --> 0:16:50.720 to the Office where they're like, okay, we shoot up 0:16:50.760 --> 0:16:53.280 till Christmas, you know, and then sometimes they would come 0:16:53.280 --> 0:16:55.240 to and be like, oh, sorry, it was picked up 0:16:55.240 --> 0:16:58.440 for the back nine, but now we're canceled, you know 0:16:58.480 --> 0:17:01.760 what I mean. But there was I think it goes 0:17:01.800 --> 0:17:04.240 back to the whole trust thing. I just always felt 0:17:04.359 --> 0:17:08.919 like you know, especially with Greg being our leader, I 0:17:08.960 --> 0:17:12.199 always felt that he was always so genuine and he 0:17:12.280 --> 0:17:15.120 would have said if there was anything that he could 0:17:15.359 --> 0:17:17.800 foresee that was coming up, that he would have said 0:17:17.920 --> 0:17:22.359 something to us. But I loved the whole cast, so 0:17:22.480 --> 0:17:25.480 there was no reason for me not to be excited 0:17:25.520 --> 0:17:29.560 about coming back. It didn't matter which way you went, 0:17:29.920 --> 0:17:33.560 because it was always an uncertainty. You know. I don't 0:17:33.560 --> 0:17:36.320 know if that's just something that we as individuals in 0:17:36.400 --> 0:17:40.679 this business thrive on, like oh gosh, you know that 0:17:41.040 --> 0:17:44.280 almost like an angst all the time, right right right, 0:17:44.359 --> 0:17:46.600 right right, you know. And I truly believe that if 0:17:46.600 --> 0:17:49.199 you're good at what you do, you will always be 0:17:49.320 --> 0:17:53.359 provided for. It may not be the ideal job, but 0:17:53.480 --> 0:17:54.960 you don't know who you're going to meet along the 0:17:55.000 --> 0:17:56.800 way that's going to go ahead and take you onto 0:17:56.800 --> 0:18:08.000 the next thing or not. For sure. 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I felt like I couldn't always be myself, 0:20:16.480 --> 0:20:18.439 and he's asking me things about my family, like my 0:20:18.440 --> 0:20:22.040 mom's in prison and my grandmother was arrested for working 0:20:22.040 --> 0:20:27.840 with the Mexican drug cartel. This scrumbs my love story. 0:20:28.240 --> 0:20:29.919 It's a show about the things we set up for 0:20:30.359 --> 0:20:32.800 and the bits of ourselves that make us who we are. 0:20:34.119 --> 0:20:37.440 Listen to Crumbs as part of the Michael Luda podcast Network, 0:20:37.680 --> 0:20:40.920 available on the I Heart Radio app, Apple Podcasts, or 0:20:40.960 --> 0:20:45.080 wherever you get your podcasts. On the latest season of 0:20:45.119 --> 0:20:48.439 the Next Question with Katie Correct podcast, Katie dives into 0:20:48.720 --> 0:20:53.480 Well Katie Here, exclusive podcast only conversations between Katie and 0:20:53.520 --> 0:20:56.280 the people who made her memoir Going There possible. We 0:20:56.359 --> 0:20:59.600 spent a lot of time together around a dining room 0:20:59.640 --> 0:21:03.440 table here and in the city, and you know, it 0:21:03.520 --> 0:21:07.320 was a very intense experience. All episodes of Next Question 0:21:07.359 --> 0:21:09.960 with Katie Curic are available now. Listen on the I 0:21:10.000 --> 0:21:13.399 Heart Radio app, Apple Podcasts, or wherever you get your podcasts. 0:21:25.320 --> 0:21:30.399 What differences are there between being a makeup artist in 0:21:31.160 --> 0:21:35.320 fashion or whatever? Like what makes TV and film different 0:21:35.440 --> 0:21:37.760 and or why do you like to do that or 0:21:37.800 --> 0:21:40.639 why have you chosen to do that? I think that 0:21:41.000 --> 0:21:45.720 compared to say fashion or commercials, you work at a 0:21:45.760 --> 0:21:51.840 completely different pace, whereas in television and film, as you know, 0:21:52.040 --> 0:21:55.800 we don't shoot, you know, day one, night one, day two, 0:21:55.880 --> 0:22:00.960 so you have to remember continuity basis. So when it 0:22:01.119 --> 0:22:03.800 comes to, say a commercial, it's like I'm getting somebody 0:22:03.840 --> 0:22:06.440 ready and I'm doing their makeup for a Taco Bell commercial, 0:22:06.520 --> 0:22:12.119 let's say. But when you're doing television or film, there's 0:22:12.200 --> 0:22:16.520 sometimes script wise where you may get them ready for 0:22:16.640 --> 0:22:20.919 day one and then say day two there's something specifically scripted, 0:22:21.400 --> 0:22:23.000 like a person gets hit in the face with the 0:22:23.000 --> 0:22:25.080 ball and they need to have a black eye, or 0:22:25.119 --> 0:22:26.960 you know, they have a split lip or whatever it 0:22:27.000 --> 0:22:29.960 happens to be. So you have to be really diligent 0:22:30.080 --> 0:22:32.919 and stay on top of it. And you're also you 0:22:32.960 --> 0:22:35.879 have a script that you're going by in television and 0:22:36.000 --> 0:22:41.320 film opposed to fashion or commercials. But also in the 0:22:41.320 --> 0:22:44.879 fashion world sometimes it's super high fashion, so it's thinking 0:22:44.920 --> 0:22:49.440 outside the box opposed to going ahead and doing maybe 0:22:49.440 --> 0:22:53.320 a straight makeup. It just all depends. And then there's 0:22:53.359 --> 0:22:56.440 also differences between going ahead and doing a regular beauty 0:22:56.480 --> 0:22:59.760 makeup opposed to doing special effects makeup, or you know, 0:22:59.800 --> 0:23:02.760 so times a tattoo is required, or I mean, you 0:23:02.800 --> 0:23:05.280 know how it was when we did our certain episodes 0:23:05.280 --> 0:23:07.359 of the Office where it would be like, oh, it's Halloween, 0:23:07.520 --> 0:23:09.200 so and so it is gonna look like blah blah 0:23:09.200 --> 0:23:12.800 blah blah. You're gonna make me miserable by by putting 0:23:13.480 --> 0:23:18.720 by putting hair all over my face as Michael Moore. 0:23:19.280 --> 0:23:24.280 But oh my gosh, because I had a I had 0:23:24.320 --> 0:23:27.679 to listen to you wine about the fact that I 0:23:27.680 --> 0:23:32.040 had to have this stuff on my face one more time. However, okay, 0:23:32.200 --> 0:23:38.119 now listen, when your manager saw you, what was the 0:23:38.160 --> 0:23:41.000