1 00:00:02,360 --> 00:00:02,720 Speaker 1: Get a. 2 00:00:03,320 --> 00:00:10,160 Speaker 2: I'm Lola Berry, nutritionist, author, actor, TV presenter, and professional oversharer. 3 00:00:10,760 --> 00:00:15,640 Speaker 2: This podcast is all about celebrating failure because I believe 4 00:00:15,680 --> 00:00:18,960 Speaker 2: it's a chance for us to learn, grow and face 5 00:00:19,000 --> 00:00:23,080 Speaker 2: our blind spots. Each week, I'll interview a different guest 6 00:00:23,160 --> 00:00:26,560 Speaker 2: about their highs as well as their lows, all in 7 00:00:26,600 --> 00:00:35,040 Speaker 2: a bid to inspire us to fearlessly fail. Hello, and 8 00:00:35,159 --> 00:00:37,960 Speaker 2: welcome to the Potteroo. I have got a ripper guest 9 00:00:38,000 --> 00:00:40,760 Speaker 2: for you today. His name is Christopher Metzker and he 10 00:00:40,880 --> 00:00:47,360 Speaker 2: is an unflippin' real costume designer from Film TV, Big 11 00:00:47,440 --> 00:00:52,360 Speaker 2: Hollywood movies. We're going to talk about theater dance. He's 12 00:00:52,479 --> 00:00:54,959 Speaker 2: very very humble as well. I'm like, Holly Mack, you've 13 00:00:55,000 --> 00:00:56,680 Speaker 2: done so much and he's like, do you reckon? And 14 00:00:56,760 --> 00:01:00,560 Speaker 2: I'm like, yeah, you're amazing. You're going to love this chat. 15 00:01:00,680 --> 00:01:05,400 Speaker 2: Is very creative and open about that creativity. I think 16 00:01:05,400 --> 00:01:09,240 Speaker 2: you'll find it really really inspiring, also because I'm very 17 00:01:09,560 --> 00:01:12,720 Speaker 2: open and honest with you guys. We actually did this 18 00:01:12,840 --> 00:01:17,319 Speaker 2: interview two days earlier and the files got corrupted. The 19 00:01:17,480 --> 00:01:21,000 Speaker 2: SD card was no boro not happy at all, So 20 00:01:21,080 --> 00:01:23,880 Speaker 2: thank you so much Christopher for jumping back on the pod. 21 00:01:24,480 --> 00:01:27,240 Speaker 2: You absolutely nailed it as you did the first time 22 00:01:27,280 --> 00:01:29,760 Speaker 2: as well, and to the listener, I hope you love 23 00:01:29,840 --> 00:01:33,120 Speaker 2: this chat. Christopher has worked on so many great projects, 24 00:01:33,120 --> 00:01:35,200 Speaker 2: from court Stealing I don't know if you saw that 25 00:01:35,240 --> 00:01:40,720 Speaker 2: recently with Austin Butler, Matt Smith, Zoe Kravitz. Also the 26 00:01:40,840 --> 00:01:45,320 Speaker 2: incredible TV show The Fallout where he takes us through 27 00:01:45,640 --> 00:01:51,400 Speaker 2: all the costumes and distressing those costumes and getting them 28 00:01:51,680 --> 00:01:53,840 Speaker 2: to the stage that obviously we see them on the show, 29 00:01:53,880 --> 00:01:56,200 Speaker 2: we don't realize like all this hard work that's gone 30 00:01:56,240 --> 00:02:01,120 Speaker 2: into it. And then also to like literally edible costumes 31 00:02:01,240 --> 00:02:03,680 Speaker 2: on the menu, so you are in for such a treat. 32 00:02:03,920 --> 00:02:06,480 Speaker 2: This is our first ever costume designer we've had on 33 00:02:06,520 --> 00:02:09,120 Speaker 2: the pod, So I hope you love this chat. Christopher, 34 00:02:09,160 --> 00:02:12,000 Speaker 2: You're wonderful. Thank you so much for my friend. All right, 35 00:02:12,160 --> 00:02:15,760 Speaker 2: big love, I'm going to say, welcome back to. 36 00:02:15,720 --> 00:02:18,680 Speaker 1: The podcasts designer. 37 00:02:18,800 --> 00:02:23,400 Speaker 2: Oh Christopher, you are so flipping wonderful for coming back. 38 00:02:23,680 --> 00:02:29,200 Speaker 2: But let's get into this. Christopher Metzga Film TV Theater. 39 00:02:30,280 --> 00:02:34,720 Speaker 2: I want to say, dance costume designer. Yes, your resume, 40 00:02:35,080 --> 00:02:39,720 Speaker 2: my friend. You know you're literally grimacing to the listener, 41 00:02:39,760 --> 00:02:45,240 Speaker 2: He's grimacing as I say, this is incredible, and I 42 00:02:45,240 --> 00:02:46,880 Speaker 2: feel very lucky because I feel like we've kind of 43 00:02:46,880 --> 00:02:49,560 Speaker 2: been buttos for the last year or so, and so 44 00:02:49,639 --> 00:02:51,639 Speaker 2: I get to see stuff behind the scenes on your 45 00:02:51,639 --> 00:02:53,880 Speaker 2: instag But I imagine also you're not allowed to share until 46 00:02:53,880 --> 00:02:55,200 Speaker 2: stuff comes out. 47 00:02:55,440 --> 00:02:57,440 Speaker 3: I must have bout at social media. But yes, like 48 00:02:57,520 --> 00:02:58,600 Speaker 3: I should post more, but. 49 00:02:59,160 --> 00:03:01,080 Speaker 1: Actually yes, I'm going to say that. 50 00:03:01,800 --> 00:03:04,560 Speaker 4: Yeah, you need you can give me all the I 51 00:03:04,560 --> 00:03:05,440 Speaker 4: got chips and tricks. 52 00:03:05,480 --> 00:03:06,200 Speaker 1: I got you back. 53 00:03:06,919 --> 00:03:09,800 Speaker 2: So the reason why I wanted to do this pod 54 00:03:09,960 --> 00:03:12,520 Speaker 2: with you was I went to the movies, one of 55 00:03:12,520 --> 00:03:15,240 Speaker 2: my favorite date day things to do, and I was 56 00:03:15,280 --> 00:03:19,160 Speaker 2: watching The Beautiful Austin Butler in Court Stealing and Matt 57 00:03:19,200 --> 00:03:23,760 Speaker 2: Smith and Zoe Kravitz, and then I was doing pod 58 00:03:23,800 --> 00:03:25,239 Speaker 2: research and I was like, I'm just going to jump 59 00:03:25,280 --> 00:03:28,320 Speaker 2: on Christopher's website and that's the first thing that pops. 60 00:03:28,120 --> 00:03:31,480 Speaker 1: Up on your website. You worked on that movie. 61 00:03:31,680 --> 00:03:32,440 Speaker 4: Yeah, it was crazy. 62 00:03:32,480 --> 00:03:36,560 Speaker 3: I was the associate custom designer Amy Westcott design the clothes. 63 00:03:37,120 --> 00:03:40,880 Speaker 4: Asked, gosh, this was a year a little over a 64 00:03:40,960 --> 00:03:41,480 Speaker 4: year ago now. 65 00:03:41,520 --> 00:03:43,080 Speaker 3: She was in LA and we had lunch and she said, 66 00:03:43,080 --> 00:03:44,240 Speaker 3: I'm doing this movie, do you want to come back 67 00:03:44,280 --> 00:03:45,600 Speaker 3: to New York and work on it? And I was like, 68 00:03:46,200 --> 00:03:48,960 Speaker 3: I've actually already bought the plane tickets, so yeah, I'm. 69 00:03:48,800 --> 00:03:51,440 Speaker 2: Coming because I remember following you on Insta and You're 70 00:03:51,480 --> 00:03:55,640 Speaker 2: posting all this cool punk rock stuff like leathers. 71 00:03:54,600 --> 00:03:56,560 Speaker 1: And and I'm guessing that was. 72 00:03:56,520 --> 00:03:59,200 Speaker 3: All all of that was constealing New York in the nineties. 73 00:03:59,240 --> 00:04:03,440 Speaker 3: So we recreated to the Lower east Side, Chinatown, Benny's 74 00:04:03,440 --> 00:04:06,000 Speaker 3: Buried as I mean, all these iconic places in New 75 00:04:06,040 --> 00:04:08,840 Speaker 3: York City and then the people that live in that 76 00:04:08,960 --> 00:04:12,360 Speaker 3: world and getting to let it be gritty and grungy 77 00:04:12,440 --> 00:04:13,560 Speaker 3: and you know. 78 00:04:14,280 --> 00:04:17,000 Speaker 2: So and this is I feel like, I feel very 79 00:04:17,160 --> 00:04:19,039 Speaker 2: not cheeky, but I feel so lucky that we actually 80 00:04:19,080 --> 00:04:20,760 Speaker 2: have had a chat before, so now I feel like 81 00:04:20,800 --> 00:04:23,320 Speaker 2: I can tip to have this. You were teaching me 82 00:04:23,680 --> 00:04:27,000 Speaker 2: about needing to like when it comes to costumes, sometimes 83 00:04:27,040 --> 00:04:30,720 Speaker 2: you need to distress things, like, for for example, even 84 00:04:30,760 --> 00:04:33,760 Speaker 2: in court stealing, like Austin Butler's character is his name Benny, 85 00:04:34,120 --> 00:04:38,080 Speaker 2: I Like it's Benny or something, but he's always in 86 00:04:38,160 --> 00:04:41,440 Speaker 2: fights yea, and so he's beautiful, like he's wearing jeans 87 00:04:41,480 --> 00:04:43,200 Speaker 2: and like his name is Hank is his name Hank 88 00:04:43,440 --> 00:04:47,360 Speaker 2: even better and he like I imagine like there's gonna be 89 00:04:47,400 --> 00:04:49,880 Speaker 2: blood spurts on bits because he gets in fights, or 90 00:04:50,080 --> 00:04:52,279 Speaker 2: like there's seem wary vomits. 91 00:04:52,320 --> 00:04:54,680 Speaker 1: You know, like it's all do you have to have 92 00:04:54,760 --> 00:04:57,240 Speaker 1: like multiple really. 93 00:04:57,240 --> 00:05:00,800 Speaker 3: You have anywhere from two to twelve to I mean, 94 00:05:00,839 --> 00:05:03,320 Speaker 3: if it's like a superhero movie, you'll get twenty four 95 00:05:03,360 --> 00:05:05,760 Speaker 3: of a particular thing, so you always have backups, and 96 00:05:05,800 --> 00:05:11,159 Speaker 3: you always might have like stages so exactly that like 97 00:05:11,440 --> 00:05:15,560 Speaker 3: if someone is in a fight or stabbed or whatever 98 00:05:15,920 --> 00:05:18,760 Speaker 3: and the blood is pooling or there's dirt, it'll be 99 00:05:18,800 --> 00:05:20,480 Speaker 3: like stage one, Stage two, stage three, and you have 100 00:05:20,600 --> 00:05:23,560 Speaker 3: multiples of each of those stages that you can film 101 00:05:23,640 --> 00:05:27,159 Speaker 3: it in and out of order. And sometimes you're distressing 102 00:05:27,240 --> 00:05:29,680 Speaker 3: it because you film the aftermath before you do the 103 00:05:29,720 --> 00:05:33,480 Speaker 3: actual event, so you're like anticipating, how will we make 104 00:05:33,600 --> 00:05:35,520 Speaker 3: this blood pool and then you try to match it 105 00:05:35,600 --> 00:05:38,920 Speaker 3: as much as possible throughout the rest. But multiples are huge. 106 00:05:38,920 --> 00:05:39,479 Speaker 4: It's huge. 107 00:05:39,839 --> 00:05:44,480 Speaker 1: And you've just reminded me often films aren't shot in 108 00:05:44,800 --> 00:05:46,400 Speaker 1: like what's the word. 109 00:05:46,200 --> 00:05:49,320 Speaker 4: I'm looking for, like script script order a country. 110 00:05:49,760 --> 00:05:51,640 Speaker 1: Yeah, yeah, so it's not like okay, well, this is 111 00:05:51,640 --> 00:05:53,160 Speaker 1: page one. We're going to shoot it first. Often you 112 00:05:53,160 --> 00:05:55,920 Speaker 1: will shoot you last stuff or yeah, like and I 113 00:05:56,000 --> 00:05:58,120 Speaker 1: spent in a movie like that, it seemed like there 114 00:05:58,120 --> 00:06:00,880 Speaker 1: would have been a few night shoots, quite a. 115 00:06:01,080 --> 00:06:05,440 Speaker 4: Yeah, quite a few. All of the bars. I'm on sets. 116 00:06:05,800 --> 00:06:10,520 Speaker 3: Generally Amy who designed the clothes, She and I will 117 00:06:10,560 --> 00:06:14,360 Speaker 3: be on set. If you're establishing something for the first time, 118 00:06:14,440 --> 00:06:17,240 Speaker 3: the first time it's ever seen on camera, you're there 119 00:06:17,400 --> 00:06:18,680 Speaker 3: to make sure it looks the way you want it to, 120 00:06:19,279 --> 00:06:22,760 Speaker 3: and that will happen. So all of our I mean 121 00:06:23,040 --> 00:06:25,480 Speaker 3: every scene at the bar was shot in the middle 122 00:06:25,520 --> 00:06:30,120 Speaker 3: of the night on house dinner avenue A or second. 123 00:06:30,200 --> 00:06:33,360 Speaker 3: I mean we were like in the thick of the 124 00:06:33,400 --> 00:06:35,960 Speaker 3: East Village and the Lower East Side, And I mean 125 00:06:36,000 --> 00:06:38,280 Speaker 3: it was funny as people found out where we were 126 00:06:38,360 --> 00:06:40,840 Speaker 3: filming night after night, the crowds. 127 00:06:40,760 --> 00:06:43,240 Speaker 1: Would cras so much on TikTok. 128 00:06:43,120 --> 00:06:44,880 Speaker 3: Yeah, the crowds would get bigger every now so by 129 00:06:44,920 --> 00:06:46,920 Speaker 3: the last night at a particular location, like when he 130 00:06:48,040 --> 00:06:50,040 Speaker 3: the scene in which he takes his key out of 131 00:06:50,080 --> 00:06:53,080 Speaker 3: the pocket from the unhoused man. Yeah, next door at 132 00:06:53,120 --> 00:06:55,960 Speaker 3: the pilot side. By the last night we were shooting 133 00:06:55,960 --> 00:06:58,440 Speaker 3: at that location, the sidewalk was packed. 134 00:06:59,080 --> 00:07:02,000 Speaker 2: I also feel like Matt Smith with that mohawk, which 135 00:07:02,040 --> 00:07:05,159 Speaker 2: is real, was that real so it was his own 136 00:07:05,240 --> 00:07:09,120 Speaker 2: hair and he fully shaved the ste good on him amazing. 137 00:07:09,279 --> 00:07:10,840 Speaker 2: I think he got the best line in the movie, 138 00:07:10,960 --> 00:07:12,120 Speaker 2: Welcome to fucking Nannia. 139 00:07:15,120 --> 00:07:19,520 Speaker 4: That seemed going into that surgeon. It was. It was magic, really, 140 00:07:19,800 --> 00:07:20,720 Speaker 4: I mean it was so cool. 141 00:07:20,760 --> 00:07:23,160 Speaker 3: Yeah, I mean that's prop sin set dressing, and like 142 00:07:23,400 --> 00:07:26,840 Speaker 3: the production design of that is absolutely and the production. 143 00:07:26,640 --> 00:07:29,400 Speaker 4: I'm in that film it is a genius, just a genius. 144 00:07:30,080 --> 00:07:30,520 Speaker 1: So fun. 145 00:07:30,640 --> 00:07:32,240 Speaker 4: Yeah, it's crazy, and you get to. 146 00:07:33,600 --> 00:07:36,800 Speaker 3: Play around and make things and you're sometimes you're making 147 00:07:36,880 --> 00:07:39,520 Speaker 3: like there's one of the things that we did was 148 00:07:39,600 --> 00:07:45,120 Speaker 3: we made three or four of those leather jackets that 149 00:07:45,280 --> 00:07:49,679 Speaker 3: Matt which I would potentially wear, and then we amy 150 00:07:49,680 --> 00:07:51,840 Speaker 3: went chopping with the director in with Matt and found 151 00:07:51,880 --> 00:07:54,560 Speaker 3: a jacket at a vintage shop in New York and 152 00:07:54,680 --> 00:07:57,040 Speaker 3: that ended up being the winner. But you're you know, 153 00:07:57,080 --> 00:08:00,880 Speaker 3: when you're doing camera tests and fittings, you're making stuff 154 00:08:01,000 --> 00:08:03,000 Speaker 3: just to see if it works, and if it doesn't, 155 00:08:03,000 --> 00:08:04,480 Speaker 3: it just goes into stock and you put it on 156 00:08:04,600 --> 00:08:05,040 Speaker 3: someone else. 157 00:08:05,360 --> 00:08:07,720 Speaker 2: Ah, it'd be so also seeing his character in the 158 00:08:07,760 --> 00:08:11,120 Speaker 2: way like his costume is such a huge part of 159 00:08:11,240 --> 00:08:15,640 Speaker 2: his whole personality, which we talked about this and I 160 00:08:15,760 --> 00:08:18,560 Speaker 2: love the way you talk about costume being storytelling and 161 00:08:18,640 --> 00:08:22,480 Speaker 2: a huge part of storytelling. Do you think costume is 162 00:08:22,600 --> 00:08:25,680 Speaker 2: almost like it can be its own character or do 163 00:08:25,800 --> 00:08:28,400 Speaker 2: you see it as kind of like elevating the actor 164 00:08:29,000 --> 00:08:30,560 Speaker 2: and helping them access the character. 165 00:08:30,880 --> 00:08:33,319 Speaker 4: I think it can be both. Yeah, I mean I 166 00:08:33,440 --> 00:08:33,760 Speaker 4: think it. 167 00:08:35,840 --> 00:08:39,120 Speaker 3: When you I mean you think about iconic moments in 168 00:08:39,240 --> 00:08:44,800 Speaker 3: film and television, and sometimes that's harnessed from the clothes 169 00:08:44,800 --> 00:08:47,400 Speaker 3: they're wearing, but it's in the context of what it's 170 00:08:47,480 --> 00:08:50,000 Speaker 3: doing for that particular scene, for that particular character. So 171 00:08:50,080 --> 00:08:53,880 Speaker 3: I think if it ends up feeling iconic or memorable 172 00:08:53,960 --> 00:08:55,800 Speaker 3: in some way, it is a combination of all of 173 00:08:55,840 --> 00:09:00,640 Speaker 3: those factors, the actor's performance. How true it feels to yeah, 174 00:09:00,679 --> 00:09:03,680 Speaker 3: that synergy of how it all was working together, Because 175 00:09:03,679 --> 00:09:07,920 Speaker 3: if it's a great jacket, it can be a great jacket, 176 00:09:08,240 --> 00:09:11,760 Speaker 3: but if it's not the right jacket for that character 177 00:09:11,840 --> 00:09:13,359 Speaker 3: in that moment, it won't. 178 00:09:14,679 --> 00:09:17,280 Speaker 4: That same energy isn't isn't there? 179 00:09:17,480 --> 00:09:19,760 Speaker 2: It reminds me there's a really heavy movie called Civil 180 00:09:19,800 --> 00:09:22,920 Speaker 2: War with Jesse Plemons, and he plays this kind of 181 00:09:23,400 --> 00:09:25,800 Speaker 2: white supremacist, really scary character. 182 00:09:26,160 --> 00:09:28,640 Speaker 4: Yes with Kirstin Dunn, Yes, yes, yes, yes, yes. 183 00:09:28,640 --> 00:09:30,320 Speaker 2: And the person that was going to play his role 184 00:09:31,120 --> 00:09:33,280 Speaker 2: pulled out and so he found out like two weeks 185 00:09:33,280 --> 00:09:35,240 Speaker 2: before because he was obviously there look on set looking 186 00:09:35,280 --> 00:09:39,280 Speaker 2: after their kiddos because he's married to Kirston Dunce anyway, 187 00:09:39,320 --> 00:09:44,520 Speaker 2: and his character is pretty like very racist but also 188 00:09:44,559 --> 00:09:47,640 Speaker 2: a murderer and for the whole, his whole he's only 189 00:09:47,720 --> 00:09:49,920 Speaker 2: on camera for like three minutes, but he wears these 190 00:09:50,400 --> 00:09:54,360 Speaker 2: heart shaped, bright red glasses and he went through he 191 00:09:54,480 --> 00:09:57,400 Speaker 2: had like thirteen pairs, same thing the way, and it 192 00:09:57,559 --> 00:09:58,720 Speaker 2: was that that he felt he. 193 00:09:58,760 --> 00:09:59,800 Speaker 1: Could be through those. 194 00:10:00,440 --> 00:10:03,479 Speaker 2: It's really important for him to do something to disassociate 195 00:10:03,520 --> 00:10:06,920 Speaker 2: while he was essentially mass murdering people. So fascinating, but 196 00:10:06,960 --> 00:10:09,600 Speaker 2: imagine without those glasses. I don't think that scene would 197 00:10:09,720 --> 00:10:13,079 Speaker 2: have maybe felt the same for the viewer as well. 198 00:10:13,120 --> 00:10:16,439 Speaker 4: It's just fine. Yeah, there's that. I think that when 199 00:10:16,480 --> 00:10:17,040 Speaker 4: you say. 200 00:10:19,480 --> 00:10:23,680 Speaker 3: Costume design can be or is a form of stellatorist storytelling. 201 00:10:24,720 --> 00:10:28,439 Speaker 3: It it's something that we as human beings are familiar with, 202 00:10:28,600 --> 00:10:30,880 Speaker 3: Like we all get dressed every day. But you everyone 203 00:10:30,960 --> 00:10:33,480 Speaker 3: gets dressed with a certain intention in mind, like you 204 00:10:33,600 --> 00:10:35,640 Speaker 3: put on clothes to feel a certain way or to 205 00:10:36,040 --> 00:10:39,040 Speaker 3: convey a certain thing about who you are. 206 00:10:39,640 --> 00:10:41,640 Speaker 4: That what is that? What is this moment in your 207 00:10:41,679 --> 00:10:43,520 Speaker 4: life that you're dressing for as a job interview? Is 208 00:10:43,559 --> 00:10:45,719 Speaker 4: it a date? Is it what you know? Is it 209 00:10:46,520 --> 00:10:50,559 Speaker 4: mass murdering people? Yeah, there is thought an intention behind it. 210 00:10:50,640 --> 00:10:51,679 Speaker 4: And if you can. 211 00:10:53,320 --> 00:10:57,800 Speaker 3: Those are the details through which you can tell something 212 00:10:57,840 --> 00:11:02,080 Speaker 3: about a person and a scene without having to say anything. Yeah, 213 00:11:02,480 --> 00:11:05,240 Speaker 3: and and we've spoken about this, but I think it's 214 00:11:05,360 --> 00:11:08,920 Speaker 3: it's even things that are unseen can be incredibly powerful, 215 00:11:09,040 --> 00:11:12,280 Speaker 3: like the accessing of the character can be the what 216 00:11:12,400 --> 00:11:12,640 Speaker 3: do you have. 217 00:11:12,679 --> 00:11:13,120 Speaker 4: In your pocket? 218 00:11:13,240 --> 00:11:15,559 Speaker 1: Oh my goodness, I like, what what is that? 219 00:11:15,679 --> 00:11:18,040 Speaker 3: What is the Is there a talisman from his life 220 00:11:18,160 --> 00:11:20,640 Speaker 3: or her life that they have that they're holding on to. 221 00:11:20,880 --> 00:11:23,360 Speaker 3: Is it just like gum wrappers or you know what? 222 00:11:24,360 --> 00:11:27,040 Speaker 3: What are those things that make you feel like a person. 223 00:11:27,920 --> 00:11:29,840 Speaker 4: In that in that moment? 224 00:11:30,000 --> 00:11:33,760 Speaker 1: And I love it. I love noting out with you. 225 00:11:33,880 --> 00:11:35,120 Speaker 1: By the way, it's so fun. 226 00:11:35,440 --> 00:11:37,400 Speaker 2: So I have to talk to you about Fallout because 227 00:11:37,480 --> 00:11:41,160 Speaker 2: that was such a fun show and also a huge cast. 228 00:11:41,840 --> 00:11:44,240 Speaker 1: You worked predominantly with a lot of the background actress. 229 00:11:44,360 --> 00:11:51,760 Speaker 3: Right, So the Vaultese, the Vaultese, the Cavenders, what we 230 00:11:51,880 --> 00:11:55,480 Speaker 3: called the wasteland like the dwellers up the everything. 231 00:11:55,800 --> 00:11:58,040 Speaker 1: So the wastelanding dweller people that they're gonna be all 232 00:11:58,120 --> 00:11:59,240 Speaker 1: like tattered, right. 233 00:11:59,160 --> 00:12:02,240 Speaker 3: And like yeah, I mean so again that was with 234 00:12:02,360 --> 00:12:05,120 Speaker 3: Amy Wescott was the custom designer actually brought me on 235 00:12:05,240 --> 00:12:07,280 Speaker 3: to help design and do background. 236 00:12:07,360 --> 00:12:07,560 Speaker 4: And so. 237 00:12:10,720 --> 00:12:14,320 Speaker 3: We had all of this research from the video game 238 00:12:14,360 --> 00:12:16,079 Speaker 3: and the art books and all that, and then the 239 00:12:16,200 --> 00:12:18,319 Speaker 3: challenge is taking something two D and making it three D. 240 00:12:18,800 --> 00:12:20,480 Speaker 3: And so you want to make it real, but you 241 00:12:20,559 --> 00:12:24,360 Speaker 3: also have to then take into account what have they 242 00:12:24,400 --> 00:12:25,960 Speaker 3: gone through, what are they going through, how are they 243 00:12:26,080 --> 00:12:30,000 Speaker 3: surviving in this wasteland, what is the culture there now creating? 244 00:12:30,400 --> 00:12:33,160 Speaker 4: And so that was a great exo. 245 00:12:33,200 --> 00:12:36,200 Speaker 3: I mean I would call up vintage vendors and say, 246 00:12:36,760 --> 00:12:40,480 Speaker 3: what do you have that's in you know, not such 247 00:12:40,520 --> 00:12:42,160 Speaker 3: great condition that you don't want to fix up, that 248 00:12:42,240 --> 00:12:45,560 Speaker 3: you don't you can't really sell, and can we buy 249 00:12:45,640 --> 00:12:47,920 Speaker 3: those things from you? Because then half the work is done. 250 00:12:47,960 --> 00:12:50,000 Speaker 3: You have some old tattered things. They feel like the fifties, 251 00:12:50,040 --> 00:12:54,080 Speaker 3: which is where it's where the story starts and then 252 00:12:54,120 --> 00:12:56,080 Speaker 3: we move from there. And then it was literally going 253 00:12:56,120 --> 00:12:58,640 Speaker 3: to thrift stores, junk shops, hardware stores. 254 00:12:59,760 --> 00:13:01,119 Speaker 4: I met this amazing. 255 00:13:01,240 --> 00:13:05,560 Speaker 3: I went to a it's called Brimfield, the Brimfield Markets, 256 00:13:05,559 --> 00:13:07,480 Speaker 3: and it's a massive vintage for that takes over this 257 00:13:07,640 --> 00:13:11,080 Speaker 3: mylong stretch in Massachusetts. And some of them are very 258 00:13:11,120 --> 00:13:12,800 Speaker 3: fancy and it's like tents and boots and in a 259 00:13:12,840 --> 00:13:15,400 Speaker 3: hotel ballroom, and then others it's like a like a 260 00:13:15,480 --> 00:13:18,640 Speaker 3: boot sale where people are showing up with like things 261 00:13:18,679 --> 00:13:21,400 Speaker 3: in a van, trash bags full of clothes. And I 262 00:13:21,559 --> 00:13:23,400 Speaker 3: met this man from upstate New York and he was 263 00:13:23,480 --> 00:13:26,800 Speaker 3: a metal scrap dealer and artist, so he would find 264 00:13:26,880 --> 00:13:29,559 Speaker 3: scrap metal and make art. Anything he didn't use he 265 00:13:29,640 --> 00:13:34,440 Speaker 3: would just sell. He had hanging these long conveyor belt 266 00:13:34,600 --> 00:13:37,839 Speaker 3: chains like that run the belts, and I was like, 267 00:13:38,080 --> 00:13:40,240 Speaker 3: this could be very interesting, and we ended up buying 268 00:13:40,280 --> 00:13:42,280 Speaker 3: all that he had, and that's how we made the 269 00:13:42,400 --> 00:13:46,439 Speaker 3: insignia and the ranks for the Brotherhood of Steel. So 270 00:13:46,600 --> 00:13:48,840 Speaker 3: certain ways that we arranged the bolts and the little 271 00:13:49,040 --> 00:13:52,240 Speaker 3: metal pieces would be like you're a general, you're an admiral, 272 00:13:52,280 --> 00:13:54,400 Speaker 3: you're a soldier and that's those are the pieces we 273 00:13:54,640 --> 00:13:56,199 Speaker 3: used to make. 274 00:13:56,600 --> 00:13:59,160 Speaker 1: That and how cool you we'll work with the local artist. 275 00:14:00,600 --> 00:14:01,440 Speaker 1: That's really fun. 276 00:14:01,920 --> 00:14:04,040 Speaker 2: It was amazing and I imagine this would have been 277 00:14:04,080 --> 00:14:07,599 Speaker 2: as well if we look at our protagonist. But that 278 00:14:07,760 --> 00:14:09,839 Speaker 2: that distressing thing, like because you know when she goes 279 00:14:09,880 --> 00:14:12,880 Speaker 2: up to the surface, like she looks all perfect and pristine, 280 00:14:12,920 --> 00:14:14,079 Speaker 2: and then each. 281 00:14:13,960 --> 00:14:17,160 Speaker 3: And she's like missing a finger. Yeah, her shoes falling 282 00:14:17,240 --> 00:14:19,960 Speaker 3: off and yeah. And that again was when I say, 283 00:14:20,080 --> 00:14:23,800 Speaker 3: like the stages of things with the principal cast, that's Amy. 284 00:14:24,200 --> 00:14:27,560 Speaker 3: She has an assistant who's amazing who they were dealing 285 00:14:27,600 --> 00:14:27,760 Speaker 3: with that. 286 00:14:27,880 --> 00:14:28,840 Speaker 4: But Amy would. 287 00:14:30,440 --> 00:14:33,720 Speaker 3: In sketches and in research show this is stage one, 288 00:14:33,760 --> 00:14:37,000 Speaker 3: which is perfect. This is the first moment of distressing, 289 00:14:37,080 --> 00:14:38,840 Speaker 3: and then you have a couple of those. This is 290 00:14:38,920 --> 00:14:41,080 Speaker 3: the next level, the next level, the next level, the 291 00:14:41,160 --> 00:14:43,560 Speaker 3: next level, until you get to the to the last. 292 00:14:43,720 --> 00:14:47,920 Speaker 3: So you have all of that and you're mapping out and. 293 00:14:48,040 --> 00:14:48,800 Speaker 1: You taught me this. 294 00:14:49,280 --> 00:14:51,840 Speaker 2: You fully go to location. And this wasn't shot in 295 00:14:51,920 --> 00:14:53,840 Speaker 2: out Flaw. That was not shot here in La No, it. 296 00:14:53,880 --> 00:14:54,360 Speaker 4: Was in New York. 297 00:14:54,560 --> 00:14:56,240 Speaker 3: So we were in Brooklyn. We were on the sound 298 00:14:56,280 --> 00:14:57,480 Speaker 3: stages for the vaults. 299 00:14:57,800 --> 00:15:01,680 Speaker 1: Yeah, to go out some wind dizzity fings. 300 00:15:01,800 --> 00:15:05,240 Speaker 3: We went to Windover, Utah and that's where we shot 301 00:15:05,280 --> 00:15:10,720 Speaker 3: the Brotherhood of Steel. Like compound Amazing, which is the 302 00:15:10,840 --> 00:15:12,920 Speaker 3: museum it's off It's where the Aola Gay was built, 303 00:15:12,960 --> 00:15:14,680 Speaker 3: which is I don't know what that is. It's one 304 00:15:14,720 --> 00:15:17,280 Speaker 3: of the planes that was used in World War Two 305 00:15:17,840 --> 00:15:18,640 Speaker 3: in Hiroshima. 306 00:15:18,960 --> 00:15:19,360 Speaker 1: Oh wow. 307 00:15:20,040 --> 00:15:24,760 Speaker 3: And so we were on this old military base. So 308 00:15:24,920 --> 00:15:28,000 Speaker 3: the barracks that they're in are real, real, like there 309 00:15:28,000 --> 00:15:29,560 Speaker 3: were parts of some of the buildings. It was like 310 00:15:29,800 --> 00:15:31,840 Speaker 3: you you can stand on this porch, but you can't 311 00:15:31,880 --> 00:15:34,760 Speaker 3: go inside because the floorboards can't hold weight. Or you 312 00:15:34,840 --> 00:15:36,560 Speaker 3: can be in this part of the building, but avoid 313 00:15:36,640 --> 00:15:37,280 Speaker 3: those floorboard. 314 00:15:37,320 --> 00:15:41,240 Speaker 4: I mean it was but it's so old, and I 315 00:15:41,320 --> 00:15:43,160 Speaker 4: mean it it was wild. 316 00:15:43,200 --> 00:15:44,680 Speaker 3: And then you know, we would do night shoots and 317 00:15:44,680 --> 00:15:47,040 Speaker 3: there was the bonfires and that, and it just felt 318 00:15:47,120 --> 00:15:49,640 Speaker 3: like this crazy camp. 319 00:15:49,760 --> 00:15:50,520 Speaker 4: I mean it was wild. 320 00:15:50,640 --> 00:15:52,440 Speaker 3: And then you're living in a hotel for two weeks 321 00:15:52,480 --> 00:15:54,320 Speaker 3: and you're in a casino and you're kind of like 322 00:15:54,840 --> 00:15:56,920 Speaker 3: what is this topsy turvy world where like you get 323 00:15:56,960 --> 00:15:59,040 Speaker 3: home from shooting at like two am and then you 324 00:15:59,120 --> 00:16:01,200 Speaker 3: wake up at the next morning and you go to 325 00:16:01,280 --> 00:16:04,720 Speaker 3: leave the hotel. In the same there was this old 326 00:16:04,760 --> 00:16:07,200 Speaker 3: woman and she was standing between two slot machines, and 327 00:16:07,280 --> 00:16:08,800 Speaker 3: she was there when I got home, and she was 328 00:16:08,880 --> 00:16:10,480 Speaker 3: there when I left the next morning. She had a 329 00:16:10,480 --> 00:16:12,360 Speaker 3: cigarette in one hand and a coffee cup in the other, 330 00:16:12,720 --> 00:16:14,760 Speaker 3: and she would take a drag of her cigarette, hit 331 00:16:14,840 --> 00:16:17,560 Speaker 3: the slot machine, take a sip of her coffee, hit 332 00:16:17,640 --> 00:16:19,040 Speaker 3: the slot machine, and kind. 333 00:16:18,920 --> 00:16:20,000 Speaker 4: Of just went back and forth. 334 00:16:20,440 --> 00:16:21,480 Speaker 1: That's why it was. 335 00:16:22,080 --> 00:16:23,360 Speaker 3: I mean, there are things that you see in those 336 00:16:23,400 --> 00:16:26,160 Speaker 3: moments where you just take pictures because if you were 337 00:16:26,240 --> 00:16:28,760 Speaker 3: to describe them to a director, they would never believe 338 00:16:28,800 --> 00:16:30,360 Speaker 3: it was. They're like that, Real people don't look like that. 339 00:16:30,400 --> 00:16:32,200 Speaker 3: Real people don't do that, and be like, no, no, 340 00:16:32,280 --> 00:16:33,680 Speaker 3: I have a picture. Look at this, look at this, 341 00:16:34,200 --> 00:16:36,600 Speaker 3: look at this amazingness. And that's a care I mean 342 00:16:36,680 --> 00:16:39,720 Speaker 3: that's something where like if I ever do something Caine, 343 00:16:39,760 --> 00:16:41,400 Speaker 3: I'll be like, guys, we have to put this old 344 00:16:41,440 --> 00:16:41,960 Speaker 3: lady in here. 345 00:16:43,760 --> 00:16:46,120 Speaker 2: Oh, I love your brain. You've got such a creative brain. 346 00:16:46,240 --> 00:16:48,880 Speaker 2: I have to ask, though you've done so much theater 347 00:16:48,960 --> 00:16:49,320 Speaker 2: as well. 348 00:16:49,400 --> 00:16:51,400 Speaker 4: Yeah, I started in theater. 349 00:16:51,600 --> 00:16:53,240 Speaker 1: Yeah, what would you say? 350 00:16:53,560 --> 00:16:55,920 Speaker 2: I imagine theater like you've got a longer lead time, 351 00:16:56,280 --> 00:17:00,440 Speaker 2: you've got those tech rehearsals. Yeah, you're potentially working with 352 00:17:00,640 --> 00:17:04,560 Speaker 2: plays that have potent if it's like Shakespeare or something 353 00:17:04,680 --> 00:17:07,119 Speaker 2: then or you've done some opera stuff as well, you 354 00:17:07,160 --> 00:17:09,080 Speaker 2: know what I mean, Like they've got a life, they've 355 00:17:09,240 --> 00:17:12,320 Speaker 2: had a life. So I met, I guess I just 356 00:17:12,359 --> 00:17:18,399 Speaker 2: want know the difference between film and tally versus theater, I. 357 00:17:18,400 --> 00:17:21,720 Speaker 3: Would say, design wise, and like the way you approach 358 00:17:21,880 --> 00:17:25,359 Speaker 3: a piece for me is very similar. It starts with 359 00:17:25,440 --> 00:17:29,520 Speaker 3: the script. You I mean, I read it hundreds of times, 360 00:17:29,600 --> 00:17:31,480 Speaker 3: but the first time get the thrust of it. Yeah, 361 00:17:31,560 --> 00:17:33,800 Speaker 3: second time you're looking for those little details, what are 362 00:17:33,840 --> 00:17:35,720 Speaker 3: the sounds, what's the story? What is you know? 363 00:17:36,880 --> 00:17:38,760 Speaker 4: Other person? You know, who are these people? 364 00:17:39,800 --> 00:17:43,040 Speaker 3: And then you're meeting with the directors, other designers, research sketches, 365 00:17:43,080 --> 00:17:50,120 Speaker 3: all that. Practically, what couldn't be more different? Lead time 366 00:17:50,240 --> 00:17:53,000 Speaker 3: can vary, so like, well that's what it is. But 367 00:17:53,119 --> 00:17:57,760 Speaker 3: in terms of like doing the thing, theater has a 368 00:17:58,000 --> 00:18:00,440 Speaker 3: bit more I would say, I want to say, like 369 00:18:00,520 --> 00:18:04,120 Speaker 3: elasticity in that you have dreshearsals, you have previews, you're 370 00:18:04,160 --> 00:18:06,920 Speaker 3: running it for two or three four weeks where you're 371 00:18:06,920 --> 00:18:09,080 Speaker 3: tweaking it and changing it, and if that thing doesn't work, 372 00:18:09,280 --> 00:18:11,359 Speaker 3: it's maybe, oh that T shirt doesn't let's change that. 373 00:18:11,480 --> 00:18:15,000 Speaker 3: Let's a designer I worked with for a long time, 374 00:18:16,119 --> 00:18:19,800 Speaker 3: Jennifer Muller. She would have we'd have laundry baskets full 375 00:18:19,840 --> 00:18:22,360 Speaker 3: of clothes underneath our tech table for the different characters 376 00:18:22,720 --> 00:18:25,000 Speaker 3: and be like, Ah, that's the wrong T shirt. Let's oh, 377 00:18:25,080 --> 00:18:27,240 Speaker 3: let's try this color. Oh okay, that works? Okay good, 378 00:18:27,320 --> 00:18:29,119 Speaker 3: And that's what you would do in previews and in 379 00:18:29,200 --> 00:18:33,720 Speaker 3: tech like you would just tweak it film. Once it's 380 00:18:34,400 --> 00:18:38,520 Speaker 3: on camera, you're there, you're locked in, so you have 381 00:18:38,720 --> 00:18:41,240 Speaker 3: to a lot of that exploration happens in the fittings 382 00:18:41,640 --> 00:18:44,680 Speaker 3: and in those conversations with the director and the designers 383 00:18:44,680 --> 00:18:46,760 Speaker 3: and the actor and finding the right thing. And then 384 00:18:46,840 --> 00:18:48,679 Speaker 3: you have your backups. You know, as you're setting up 385 00:18:48,680 --> 00:18:50,760 Speaker 3: the shot, you're doing a rehearsal, you're like, oh does 386 00:18:50,800 --> 00:18:52,520 Speaker 3: that act? Oh maybe that doesn't work. In the director 387 00:18:52,600 --> 00:18:53,920 Speaker 3: might be like, can we try that other thing we 388 00:18:54,000 --> 00:18:56,560 Speaker 3: had from y X fitting? And you have it in 389 00:18:56,680 --> 00:18:58,440 Speaker 3: your truck and you grab it and you put it on. 390 00:18:58,520 --> 00:18:59,480 Speaker 3: You're like, okay, good, that's it. 391 00:19:00,160 --> 00:19:01,120 Speaker 4: A shot. Get shot. 392 00:19:01,160 --> 00:19:05,359 Speaker 3: And that was a weird thing for me to adjust 393 00:19:05,400 --> 00:19:07,720 Speaker 3: you because I'd be watching some of the other modernor like, 394 00:19:07,760 --> 00:19:09,080 Speaker 3: oh it's not exactly perf. 395 00:19:09,200 --> 00:19:12,200 Speaker 4: Well that's okay, yeah, oh the color, No, that's what 396 00:19:12,320 --> 00:19:12,560 Speaker 4: it is. 397 00:19:13,560 --> 00:19:15,440 Speaker 1: It's so interesting. I also reckon with theater. 398 00:19:15,520 --> 00:19:18,040 Speaker 2: I imagine you've got to think about costume changes as well, 399 00:19:18,200 --> 00:19:20,400 Speaker 2: Like if somebody's got to like do a really quick 400 00:19:20,480 --> 00:19:22,919 Speaker 2: costume change, get back on, especially if they're like an 401 00:19:23,160 --> 00:19:25,439 Speaker 2: ensemble character that plays you know, yeah, I. 402 00:19:25,480 --> 00:19:30,760 Speaker 3: Mean sometimes you're designing it with that that it might 403 00:19:30,800 --> 00:19:33,240 Speaker 3: be're like, okay, well, this person has thirty five seconds. 404 00:19:33,280 --> 00:19:35,639 Speaker 3: So what are we underdressing. What are we cutting the 405 00:19:35,720 --> 00:19:37,879 Speaker 3: sleeves off and hiding underneath something else? What are we 406 00:19:38,040 --> 00:19:41,400 Speaker 3: putting you know, magnets down the back so it rips away. 407 00:19:41,680 --> 00:19:44,679 Speaker 3: You know, you're looking at all of those, and sometimes 408 00:19:44,720 --> 00:19:46,440 Speaker 3: you get to have fun with it. I just designed 409 00:19:46,440 --> 00:19:49,159 Speaker 3: a musical called Bright Star, and in the middle of 410 00:19:49,240 --> 00:19:51,520 Speaker 3: a scene, this character is singing a song and she 411 00:19:52,280 --> 00:19:57,000 Speaker 3: on stage in the choreography moves from nineteen forties back 412 00:19:57,080 --> 00:20:01,159 Speaker 3: into her childhood twenties, and so she's taking off the 413 00:20:01,240 --> 00:20:03,720 Speaker 3: nineteen forties closed as part of the choreography, and this 414 00:20:03,920 --> 00:20:06,760 Speaker 3: dress that she puts on we designed to open through 415 00:20:06,800 --> 00:20:09,760 Speaker 3: the back and so she could literally slide into it. 416 00:20:09,880 --> 00:20:12,320 Speaker 3: And there were some magnets and some of the actors 417 00:20:12,359 --> 00:20:14,280 Speaker 3: would tie the belt around her waist and then all 418 00:20:14,280 --> 00:20:17,680 Speaker 3: of a sudden, she's in the twenties, right before your eyes, 419 00:20:17,920 --> 00:20:18,080 Speaker 3: you know. 420 00:20:18,600 --> 00:20:21,240 Speaker 2: So I think I was telling you I saw this 421 00:20:21,480 --> 00:20:23,240 Speaker 2: play that's on at the National Theater and now with 422 00:20:23,400 --> 00:20:27,760 Speaker 2: Rosamund Pike, and she doesn't leave the stage, and because 423 00:20:27,760 --> 00:20:33,600 Speaker 2: she plays a judge, everything is under but I'm talking one, two, three, 424 00:20:35,400 --> 00:20:39,119 Speaker 2: three like top layers. So like shirts dress, there's a 425 00:20:39,160 --> 00:20:41,200 Speaker 2: little she gets down to, like a little single top 426 00:20:41,240 --> 00:20:44,320 Speaker 2: at the very end. And then any costumes are because 427 00:20:44,320 --> 00:20:45,879 Speaker 2: it's all set in a lot of it's set in 428 00:20:45,920 --> 00:20:48,760 Speaker 2: her kitchen or courtroom, and she'll pull a drawer and 429 00:20:48,920 --> 00:20:52,240 Speaker 2: pull like another piece of costume out, so fascinating. 430 00:20:52,280 --> 00:20:55,640 Speaker 3: I mean, those are the fire I think, and those 431 00:20:55,720 --> 00:20:58,040 Speaker 3: are some moments where we talk about the specificity how 432 00:20:58,080 --> 00:21:01,560 Speaker 3: important it is when you've got just a couple of 433 00:21:01,680 --> 00:21:04,160 Speaker 3: pieces to tell, the story. 434 00:21:03,920 --> 00:21:05,320 Speaker 4: Becomes even more. 435 00:21:05,480 --> 00:21:06,879 Speaker 3: I mean, to be a fly on a wall in 436 00:21:06,960 --> 00:21:08,399 Speaker 3: that fitting, it would have been amazing because that it's 437 00:21:08,440 --> 00:21:11,280 Speaker 3: like what is the right jacket? What's the conversation then 438 00:21:11,359 --> 00:21:14,960 Speaker 3: with the set designer and the director to be like 439 00:21:15,000 --> 00:21:16,359 Speaker 3: where do we hide these things? 440 00:21:16,480 --> 00:21:19,520 Speaker 4: What is what's the energy? Like how does that all 441 00:21:19,680 --> 00:21:20,680 Speaker 4: work together? 442 00:21:21,320 --> 00:21:24,439 Speaker 2: It was really interesting also color wise, like the moment 443 00:21:24,560 --> 00:21:27,280 Speaker 2: we first see her take her I don't know what 444 00:21:27,280 --> 00:21:28,440 Speaker 2: it's called judge gown off. 445 00:21:28,720 --> 00:21:32,359 Speaker 1: She was wearing an emerald green loose blouse and I'm like. 446 00:21:32,400 --> 00:21:34,879 Speaker 2: Oh, she's like powerful. And then when you see it 447 00:21:35,000 --> 00:21:36,880 Speaker 2: be social and have like a bit of a sexy thing. 448 00:21:36,960 --> 00:21:40,560 Speaker 2: She's in red and so it's fascinating like how And 449 00:21:40,640 --> 00:21:42,600 Speaker 2: I imagine your brain would be like boom boom, Like 450 00:21:42,720 --> 00:21:45,800 Speaker 2: this is all things that I would think about when 451 00:21:45,840 --> 00:21:50,560 Speaker 2: you talk about specificity as well. And like speaking of specificity, 452 00:21:50,640 --> 00:21:54,040 Speaker 2: I have to ask you do you find with actors 453 00:21:54,480 --> 00:21:57,239 Speaker 2: that when they're trying costumes on, they'll be like oh 454 00:21:57,320 --> 00:22:00,800 Speaker 2: yeah that oh yeah, like all the shoes, Yeah, Like 455 00:22:01,000 --> 00:22:03,560 Speaker 2: what are those little things that really like help them 456 00:22:03,680 --> 00:22:04,639 Speaker 2: access the character? 457 00:22:05,400 --> 00:22:08,600 Speaker 3: I mean it can be anything, but shoes are always 458 00:22:08,880 --> 00:22:11,639 Speaker 3: to be comfortable, yeah, and to make the choice to 459 00:22:11,720 --> 00:22:13,760 Speaker 3: not be comfortable, like it depends on the actor. They're 460 00:22:13,800 --> 00:22:16,159 Speaker 3: like these shoes make me walk funny, but this actually 461 00:22:16,280 --> 00:22:19,399 Speaker 3: really works, so let's go for it. But I mean 462 00:22:19,440 --> 00:22:21,400 Speaker 3: that sense of grounding is important to know, like where 463 00:22:21,440 --> 00:22:25,280 Speaker 3: you your feet are underneath you. I would say shoes 464 00:22:25,440 --> 00:22:30,160 Speaker 3: and underwear tend to be like the more difficult things 465 00:22:30,520 --> 00:22:35,080 Speaker 3: to figure out. And I mean, and that's the it's 466 00:22:35,119 --> 00:22:38,960 Speaker 3: you know, people always be like, oh, customs, that is 467 00:22:39,040 --> 00:22:41,000 Speaker 3: so glamorous, and and I'm like, I actually spend a 468 00:22:41,040 --> 00:22:43,960 Speaker 3: lot of time buying underwear and shoes because you're just 469 00:22:44,040 --> 00:22:46,080 Speaker 3: going through it and and and so you've got the 470 00:22:46,119 --> 00:22:48,119 Speaker 3: grounding of the shoes that important part, and then the 471 00:22:48,240 --> 00:22:50,960 Speaker 3: underg the foundations of it. If it's a period piece, 472 00:22:51,400 --> 00:22:54,159 Speaker 3: under even more important just to get the right shape of. 473 00:22:54,160 --> 00:22:55,040 Speaker 4: The clothes on top of it. 474 00:22:55,320 --> 00:22:59,560 Speaker 3: But also they give the actor that tangible feeling of like, ah, 475 00:22:59,760 --> 00:23:02,399 Speaker 3: this is what you know. It's like all those funny 476 00:23:02,480 --> 00:23:05,120 Speaker 3: videos that go around about Bridgerton and the Gilded Age 477 00:23:05,119 --> 00:23:07,040 Speaker 3: and they're like, my course, it's my course, it's right. 478 00:23:07,600 --> 00:23:09,840 Speaker 3: And I mean they're not the most comfortable thing in 479 00:23:09,840 --> 00:23:12,040 Speaker 3: the world towhere, but like if they're fitted well and 480 00:23:12,160 --> 00:23:14,840 Speaker 3: they're constructed well and they're for you there, you could 481 00:23:15,359 --> 00:23:15,679 Speaker 3: live in. 482 00:23:15,720 --> 00:23:18,800 Speaker 2: That well you just mentioned Bridgeton. I interviewed the intimacy 483 00:23:18,840 --> 00:23:21,680 Speaker 2: coordinator and I asked her cool. 484 00:23:21,680 --> 00:23:23,320 Speaker 1: Well and I asked her, I said, what's the key? 485 00:23:23,400 --> 00:23:25,960 Speaker 2: And she's like, because the first scene they ever shot 486 00:23:26,040 --> 00:23:30,159 Speaker 2: on the first the first Bridgeton was the famous library 487 00:23:30,240 --> 00:23:33,480 Speaker 2: scene where he's essentially going down on her and she's 488 00:23:33,520 --> 00:23:35,560 Speaker 2: in this library. She goes, there were few things that 489 00:23:36,119 --> 00:23:38,520 Speaker 2: the audience doesn't know. She's like, first of all, that 490 00:23:38,640 --> 00:23:41,159 Speaker 2: was the first time those actors were Yeah, they had 491 00:23:41,240 --> 00:23:43,359 Speaker 2: six weeks of intimacy coordination prep. 492 00:23:43,440 --> 00:23:43,600 Speaker 4: Though. 493 00:23:44,160 --> 00:23:47,920 Speaker 2: Second thing, she's like the underwear. She's like, it makes 494 00:23:47,960 --> 00:23:51,040 Speaker 2: it so sexy because it's. 495 00:23:50,960 --> 00:23:53,240 Speaker 1: So much more than what we wear these days, and 496 00:23:53,400 --> 00:23:53,679 Speaker 1: so like. 497 00:23:53,880 --> 00:23:58,840 Speaker 2: If thumb brushes like a like slight bit of the 498 00:23:58,920 --> 00:24:01,920 Speaker 2: underwe that is super intimate. She's like. The other thing 499 00:24:02,040 --> 00:24:05,520 Speaker 2: is like breath. She's like just she's like, we She's like, 500 00:24:05,880 --> 00:24:09,320 Speaker 2: we literally plant. It's like a fight scene. She's like, 501 00:24:09,400 --> 00:24:12,680 Speaker 2: we choreograph the inhales and exhales and that's really what 502 00:24:12,800 --> 00:24:16,359 Speaker 2: makes it sexy. Wow, But to come up bring it 503 00:24:16,400 --> 00:24:19,119 Speaker 2: back to you and underwear, like, I've never to be 504 00:24:19,200 --> 00:24:20,920 Speaker 2: really honest with you, I've done been acting school for 505 00:24:21,000 --> 00:24:24,680 Speaker 2: ten years. I've never thought I've always worn my own underwear. 506 00:24:24,760 --> 00:24:27,439 Speaker 2: I thought, what would And I've played women in their 507 00:24:27,560 --> 00:24:30,840 Speaker 2: fifties that probably would wear different like when like powerful 508 00:24:30,840 --> 00:24:33,080 Speaker 2: women that work in legal firms. That's probably a different 509 00:24:33,160 --> 00:24:37,560 Speaker 2: vibe to isn't it? What makes sense because it's like 510 00:24:37,680 --> 00:24:39,359 Speaker 2: it's one of the first choices you make in a 511 00:24:39,440 --> 00:24:42,840 Speaker 2: day as well, and it's like it has such an 512 00:24:42,880 --> 00:24:45,560 Speaker 2: impact as a human we know on like you're confidence, 513 00:24:46,119 --> 00:24:49,359 Speaker 2: how you feel within your own skin, Like it's a 514 00:24:49,440 --> 00:24:51,720 Speaker 2: no brainer in the way that you mentioned like things 515 00:24:51,800 --> 00:24:54,840 Speaker 2: in the pockets as well, like I know, if I'm nervous, 516 00:24:54,880 --> 00:24:57,359 Speaker 2: I'll put like a lucky ring in my lurl, make 517 00:24:57,400 --> 00:24:59,760 Speaker 2: sure I've got a certain thing on or or even 518 00:24:59,840 --> 00:25:01,720 Speaker 2: like as hippus it sounds like a crystal or a 519 00:25:01,840 --> 00:25:04,520 Speaker 2: lucky coin or something like. And I think this is 520 00:25:04,560 --> 00:25:07,280 Speaker 2: probably more common than we realize as far as human 521 00:25:07,400 --> 00:25:11,000 Speaker 2: nature goes. And yeah, I mean, like I said, I 522 00:25:11,040 --> 00:25:12,960 Speaker 2: could talk to you all day long, I have to 523 00:25:14,160 --> 00:25:16,440 Speaker 2: ask you because I've got to know you as a friend. 524 00:25:16,480 --> 00:25:20,840 Speaker 2: We've also worked together, you feel, and having been a 525 00:25:21,040 --> 00:25:24,000 Speaker 2: wonderful participant in many of your yoga classes as well, 526 00:25:25,200 --> 00:25:30,560 Speaker 2: you are somebody that is clear, specific, and I believe 527 00:25:31,200 --> 00:25:34,000 Speaker 2: attention to detail is probably one of your hallmarks. 528 00:25:35,320 --> 00:25:37,159 Speaker 1: How do you find that that serves you? 529 00:25:37,520 --> 00:25:40,320 Speaker 2: Working in this like the entertainment industry, and like say 530 00:25:40,359 --> 00:25:43,480 Speaker 2: you're working on a TV show or a movie. These 531 00:25:43,560 --> 00:25:49,640 Speaker 2: are like high pressure, very high pressure, lots of money worlds. 532 00:25:50,160 --> 00:25:52,919 Speaker 2: How important to you is that attention to detail? 533 00:25:53,560 --> 00:25:57,720 Speaker 3: I mean, it's tremendously important, and there's plenty of ways 534 00:25:57,800 --> 00:25:57,960 Speaker 3: that it. 535 00:25:58,680 --> 00:26:01,159 Speaker 4: The systems that you work within help support that. 536 00:26:01,200 --> 00:26:02,520 Speaker 3: I mean, like if you're working on a film or 537 00:26:02,560 --> 00:26:04,960 Speaker 3: TV show, the amount of like paperwork and schedules that 538 00:26:05,000 --> 00:26:07,919 Speaker 3: you're looking at to stay on top of things are. 539 00:26:09,359 --> 00:26:12,960 Speaker 4: Endless, right, But I think the attention to detail, I 540 00:26:13,000 --> 00:26:13,720 Speaker 4: mean it's it's. 541 00:26:16,840 --> 00:26:20,800 Speaker 3: The desire to serve the not only the script and 542 00:26:20,880 --> 00:26:23,320 Speaker 3: the actor and the story, but to like find the 543 00:26:23,520 --> 00:26:26,240 Speaker 3: right things, so like I can. 544 00:26:26,240 --> 00:26:30,440 Speaker 4: Be obsessive if it's the right piece. 545 00:26:30,760 --> 00:26:33,680 Speaker 3: And I mean a dear friend of mine who used 546 00:26:33,680 --> 00:26:35,320 Speaker 3: to assist me on shows when I lived in New York, 547 00:26:35,680 --> 00:26:38,000 Speaker 3: I would find a piece of research or draw something 548 00:26:38,160 --> 00:26:39,760 Speaker 3: and be like, this is that's it. 549 00:26:39,880 --> 00:26:42,000 Speaker 4: I'm obsessed with this blouse. It has to be that blouse. 550 00:26:42,200 --> 00:26:44,399 Speaker 4: I can't do it. And it can't happen without it, 551 00:26:44,800 --> 00:26:46,480 Speaker 4: Like that's what I need it. It needs to be that. 552 00:26:46,840 --> 00:26:48,920 Speaker 4: But and it you know, there's that idea of like, 553 00:26:49,040 --> 00:26:50,159 Speaker 4: oh god, why is it that? 554 00:26:50,280 --> 00:26:53,159 Speaker 3: But you've done all of that work, with the conversations 555 00:26:53,160 --> 00:26:55,680 Speaker 3: with the actor, the director, the research, the design like 556 00:26:56,080 --> 00:26:59,960 Speaker 3: it has. It's that important. So finding the right piece 557 00:26:59,960 --> 00:27:03,159 Speaker 3: of jewelry, the right fabric, the right thing is is 558 00:27:04,800 --> 00:27:08,640 Speaker 3: so important and you know, you can. 559 00:27:08,600 --> 00:27:10,840 Speaker 4: Be upset, you know, it can be obsessive. 560 00:27:10,840 --> 00:27:13,119 Speaker 3: And then the detail part of it beyond that is 561 00:27:13,320 --> 00:27:16,520 Speaker 3: just you know, if I'm working in as an assistant, 562 00:27:16,600 --> 00:27:20,040 Speaker 3: I try to be as humanly possible on top of 563 00:27:20,480 --> 00:27:24,399 Speaker 3: the details in the scheduling because it is fast and 564 00:27:24,520 --> 00:27:27,879 Speaker 3: it's furious, and you you're once it starts, you're on 565 00:27:28,000 --> 00:27:30,720 Speaker 3: the train and if you fall off, it's really hard 566 00:27:30,720 --> 00:27:32,760 Speaker 3: to get back on. So you just you try to 567 00:27:32,800 --> 00:27:34,280 Speaker 3: stay on top of it and try to keep all 568 00:27:34,320 --> 00:27:38,040 Speaker 3: of those details in line in your process. And if 569 00:27:38,080 --> 00:27:40,840 Speaker 3: that's like making a calendar, making your spreadsheet, whatever that is. 570 00:27:41,960 --> 00:27:43,680 Speaker 2: It's cool to hear you talk about that because that 571 00:27:43,800 --> 00:27:46,480 Speaker 2: is a big part. Like I think us creatives can be. 572 00:27:46,600 --> 00:27:48,800 Speaker 1: Like, oh, like let's just be I want to be 573 00:27:48,880 --> 00:27:50,040 Speaker 1: in the art and I want to. 574 00:27:50,280 --> 00:27:53,000 Speaker 2: Yeah, there is actually like very much a procedure and 575 00:27:53,040 --> 00:27:57,200 Speaker 2: protocol aside to it as well, and like being so 576 00:27:57,440 --> 00:28:00,280 Speaker 2: ready with all like yes, the art so import but 577 00:28:00,400 --> 00:28:03,400 Speaker 2: also like that preparation as well is like key. 578 00:28:03,640 --> 00:28:05,600 Speaker 3: Yeah, I mean there's like the art I think of it, 579 00:28:05,880 --> 00:28:09,440 Speaker 3: like the process has its like artsy fartsy time, and 580 00:28:09,520 --> 00:28:11,320 Speaker 3: you get to be creative, you get to design. You're 581 00:28:11,359 --> 00:28:13,480 Speaker 3: never not creative throughout the process, but at a certain 582 00:28:13,520 --> 00:28:17,880 Speaker 3: point the practicality has to become the thing. So it's 583 00:28:17,920 --> 00:28:21,359 Speaker 3: like we've got to you know, when you're working in 584 00:28:21,359 --> 00:28:23,040 Speaker 3: a film, it's like, okay, this has to get established 585 00:28:23,040 --> 00:28:24,320 Speaker 3: and then when that's done, I've got to run to 586 00:28:24,400 --> 00:28:25,919 Speaker 3: this place and pick up those clothes and. 587 00:28:26,400 --> 00:28:28,240 Speaker 4: Shop for that, and then we have this fitting. 588 00:28:28,400 --> 00:28:32,440 Speaker 3: Like that cycle is really important and you're not not 589 00:28:32,640 --> 00:28:35,600 Speaker 3: creative in it, but at a certain point it's like yes, 590 00:28:36,520 --> 00:28:38,000 Speaker 3: if the thing isn't there, you've got to make a 591 00:28:38,040 --> 00:28:42,360 Speaker 3: different choice, and you've got to solve the puzzle piece 592 00:28:42,520 --> 00:28:44,640 Speaker 3: because it's either got to go on stage or it's 593 00:28:44,680 --> 00:28:45,680 Speaker 3: got to be on camera. 594 00:28:45,800 --> 00:28:48,080 Speaker 4: And at a certain point, the deadline is the deadline. 595 00:28:48,240 --> 00:28:50,560 Speaker 2: Yeah, Oh I love that and it's very inspiring. I 596 00:28:50,640 --> 00:28:53,440 Speaker 2: have to ask you about the menu and is it 597 00:28:53,560 --> 00:28:56,240 Speaker 2: true you made edible chocolate hats. 598 00:28:56,880 --> 00:28:58,120 Speaker 4: It was the best part of working. 599 00:28:58,280 --> 00:29:02,320 Speaker 3: I mean I always like, I always like finding there's 600 00:29:02,360 --> 00:29:03,880 Speaker 3: always one thing on a project that you used to 601 00:29:03,960 --> 00:29:07,000 Speaker 3: like figure out and when. And this was again the 602 00:29:07,080 --> 00:29:09,760 Speaker 3: amazing Amy Wescott who hired me on to do the 603 00:29:09,880 --> 00:29:12,720 Speaker 3: menu with her. We got to Savannah where we were 604 00:29:12,720 --> 00:29:14,360 Speaker 3: shooting it, and we were reading the script and I 605 00:29:14,520 --> 00:29:16,240 Speaker 3: thought they were props. I was like, this is gonna 606 00:29:16,240 --> 00:29:17,840 Speaker 3: be the props perment, like this would be great. And 607 00:29:17,960 --> 00:29:20,400 Speaker 3: she was like, I knew, can you figure out how 608 00:29:20,400 --> 00:29:22,000 Speaker 3: to make these hats out of chocolate? Like what can 609 00:29:22,080 --> 00:29:22,960 Speaker 3: we do to make these hats? 610 00:29:23,000 --> 00:29:28,400 Speaker 4: And I was like huh. And so there was a local. 611 00:29:29,920 --> 00:29:32,320 Speaker 3: Like chocolate local chocolate shop and the owner of that 612 00:29:32,360 --> 00:29:35,600 Speaker 3: shop was working with the art department because there was 613 00:29:35,640 --> 00:29:37,280 Speaker 3: all the other chocolate stuff that was happening, so he 614 00:29:37,520 --> 00:29:39,920 Speaker 3: was helping them with that. So I just emailed him 615 00:29:39,960 --> 00:29:41,800 Speaker 3: and was like, can I come to your shop one 616 00:29:41,880 --> 00:29:44,960 Speaker 3: night after work and can you teach me how like 617 00:29:45,040 --> 00:29:47,560 Speaker 3: how do you make these molded chocolate things that you make? 618 00:29:48,600 --> 00:29:51,960 Speaker 3: And he taught me how to temper chocolate and make 619 00:29:52,080 --> 00:29:53,200 Speaker 3: these molds. 620 00:29:52,880 --> 00:29:53,200 Speaker 1: With like. 621 00:29:55,480 --> 00:29:58,360 Speaker 4: Clean not cling film, but like yeah, yeah, yeah, you. 622 00:29:58,400 --> 00:29:59,920 Speaker 3: Know, like when you write on a projector of those 623 00:30:00,040 --> 00:30:02,680 Speaker 3: clear plastic sheets, like using those to make the mold 624 00:30:02,760 --> 00:30:05,360 Speaker 3: and the shapes and drying them. And ultimately those were 625 00:30:05,400 --> 00:30:09,360 Speaker 3: beautiful but too delicate, and so I ended up using 626 00:30:09,440 --> 00:30:10,200 Speaker 3: like tutsi roll. 627 00:30:10,240 --> 00:30:11,400 Speaker 4: It's called modeling job butt. 628 00:30:11,680 --> 00:30:14,160 Speaker 3: It's like a big vat of tutsi roll and rolling 629 00:30:14,240 --> 00:30:18,720 Speaker 3: it out and making different shapes and carving out the 630 00:30:18,840 --> 00:30:20,800 Speaker 3: interior so it would be thinner in some parts so 631 00:30:20,800 --> 00:30:22,720 Speaker 3: it would collapse more easily. I mean, you can ask 632 00:30:22,760 --> 00:30:26,239 Speaker 3: my partner. Our refrigerator in Savannah was full of these 633 00:30:26,280 --> 00:30:29,160 Speaker 3: like prototype chocolate hats and just getting it to the 634 00:30:29,320 --> 00:30:32,320 Speaker 3: right consistency in the thickness and then covering them in 635 00:30:32,480 --> 00:30:35,600 Speaker 3: magic shell that like dessert topping, so that it was hard, 636 00:30:35,760 --> 00:30:37,560 Speaker 3: but then as it warmed, it would look like it 637 00:30:37,680 --> 00:30:39,960 Speaker 3: was oozing more. And then we worked with the FX 638 00:30:40,040 --> 00:30:43,120 Speaker 3: department to put this rig underneath the hat that had 639 00:30:43,200 --> 00:30:45,960 Speaker 3: more oozy chocolate. And then it was just a bunch 640 00:30:46,040 --> 00:30:49,040 Speaker 3: of us standing out of the frame with heat guns 641 00:30:49,200 --> 00:30:51,640 Speaker 3: pointed at the hats so that it would start to 642 00:30:51,680 --> 00:30:53,160 Speaker 3: melt and collapse while they filmed it. 643 00:30:54,520 --> 00:30:57,120 Speaker 1: Oh my goodness, so good. Yeah, I have to go 644 00:30:57,240 --> 00:30:57,840 Speaker 1: back and watch that. 645 00:30:57,920 --> 00:30:58,840 Speaker 4: That's going to be crazy. 646 00:30:59,160 --> 00:31:02,920 Speaker 3: And the marshmallow bunch are real marshmallows that we and 647 00:31:03,000 --> 00:31:05,400 Speaker 3: we tried everything. We were like, can we dip them 648 00:31:05,480 --> 00:31:07,680 Speaker 3: in some kind of shellac to cover them so they 649 00:31:07,840 --> 00:31:10,360 Speaker 3: last longer? And the best thing was just heart gluing 650 00:31:10,440 --> 00:31:13,440 Speaker 3: them to the fabric and covering them in corn starts 651 00:31:13,440 --> 00:31:14,520 Speaker 3: so they didn't look too shiny. 652 00:31:15,480 --> 00:31:18,040 Speaker 4: So it's all real. It was, It was all real. 653 00:31:18,160 --> 00:31:19,000 Speaker 1: Yeah, Oh my goodness. 654 00:31:19,280 --> 00:31:21,520 Speaker 2: Okay, I I obviously have to ask you this, and 655 00:31:21,600 --> 00:31:23,360 Speaker 2: this was one of the first questions I asked you 656 00:31:23,480 --> 00:31:25,480 Speaker 2: the day I met you over a year ago. 657 00:31:25,640 --> 00:31:28,000 Speaker 4: Now oh yeah, oh god, I forgot again. 658 00:31:28,120 --> 00:31:33,360 Speaker 1: Yes, having our little coffees, what is your like? North 659 00:31:33,400 --> 00:31:35,000 Speaker 1: Star Dream Job dream geek. 660 00:31:35,880 --> 00:31:39,360 Speaker 3: It's designing for the Brigands Festival, and oh my god, 661 00:31:39,400 --> 00:31:40,680 Speaker 3: I thought I was like going to look it up 662 00:31:40,800 --> 00:31:43,320 Speaker 3: and be more knowledgeable. But it's an opera company that 663 00:31:43,480 --> 00:31:49,400 Speaker 3: produces operas on a lake and the audience sits on 664 00:31:50,320 --> 00:31:54,280 Speaker 3: the barge or no, no, they sit and it stands 665 00:31:54,360 --> 00:31:58,160 Speaker 3: on land and they look at this massive productions that 666 00:31:58,640 --> 00:32:00,920 Speaker 3: is built in the middle of this lake. 667 00:32:00,960 --> 00:32:03,080 Speaker 4: And it's just the scale of it, the. 668 00:32:03,200 --> 00:32:08,920 Speaker 3: Number of performers, scuba divers, not only like actors, but 669 00:32:09,080 --> 00:32:11,120 Speaker 3: there's like the safety team and people in the water 670 00:32:11,160 --> 00:32:13,280 Speaker 3: if someone falls in God for a bit, like it's 671 00:32:13,720 --> 00:32:15,960 Speaker 3: a feat And to look at those productions and to 672 00:32:16,080 --> 00:32:18,080 Speaker 3: watch some of them that have been recorded and put 673 00:32:18,120 --> 00:32:20,200 Speaker 3: online that you can watch through the library. 674 00:32:20,400 --> 00:32:21,200 Speaker 1: Yeah, I want to see this. 675 00:32:21,720 --> 00:32:23,920 Speaker 4: It's incredible, it's gorgeous. 676 00:32:24,360 --> 00:32:26,440 Speaker 2: This is on a much smaller scale, but you should 677 00:32:26,440 --> 00:32:28,280 Speaker 2: go to Australia because you know the Sydney Opera House, 678 00:32:29,280 --> 00:32:31,240 Speaker 2: there's a movie screen that comes out of the water 679 00:32:31,400 --> 00:32:32,440 Speaker 2: and you see it. 680 00:32:32,520 --> 00:32:33,000 Speaker 1: I've been there. 681 00:32:33,040 --> 00:32:33,400 Speaker 4: I see it. 682 00:32:33,840 --> 00:32:36,440 Speaker 1: Yeah, and you watch the movie like the screen is 683 00:32:36,440 --> 00:32:36,840 Speaker 1: in the water. 684 00:32:37,240 --> 00:32:39,520 Speaker 4: That's so and you're on a boat, you're on land 685 00:32:39,640 --> 00:32:40,160 Speaker 4: like same. 686 00:32:40,080 --> 00:32:43,240 Speaker 1: Things on seats. It's so cool. It's an outdoor theater obviously. 687 00:32:43,680 --> 00:32:43,880 Speaker 4: Yeah. 688 00:32:43,920 --> 00:32:46,040 Speaker 2: So like you got the Scars Stars at night, you've 689 00:32:46,080 --> 00:32:48,480 Speaker 2: got the Sydney like the Sydney Harbor Bridge behind and 690 00:32:48,600 --> 00:32:50,600 Speaker 2: you're watching from a movie premiere. 691 00:32:51,200 --> 00:32:53,200 Speaker 1: How mental, that's how cool. 692 00:32:53,320 --> 00:32:57,640 Speaker 3: Amazingly I'll add that one to the list. I'll have 693 00:32:57,720 --> 00:32:59,160 Speaker 3: a movie that'll premiere one day. 694 00:32:59,000 --> 00:32:59,760 Speaker 4: And that's where it'll be. 695 00:33:00,200 --> 00:33:03,440 Speaker 1: Yeah, we'll go together. Thanks, hopefully I'm in it. 696 00:33:03,880 --> 00:33:06,240 Speaker 2: Okay, So I have to ask because you are such 697 00:33:06,240 --> 00:33:11,400 Speaker 2: an amazing creative and so many people listen to this 698 00:33:11,520 --> 00:33:14,200 Speaker 2: pod that are like I've got this dream and like 699 00:33:14,240 --> 00:33:18,240 Speaker 2: they've got that spark in their chest and but and 700 00:33:18,480 --> 00:33:20,960 Speaker 2: I like, I feel this way sometimes too. Sometimes that 701 00:33:21,120 --> 00:33:23,440 Speaker 2: all feels a little bit too oh what if I fail? 702 00:33:23,600 --> 00:33:24,200 Speaker 1: And scary? 703 00:33:24,360 --> 00:33:27,360 Speaker 2: What advice do you have for someone that's got a 704 00:33:27,440 --> 00:33:30,320 Speaker 2: creative dyam? It can be like you can speak directly 705 00:33:30,400 --> 00:33:34,560 Speaker 2: to costume or you can speak to broad I think. 706 00:33:36,160 --> 00:33:39,640 Speaker 3: The things I've learned, even in learning them about myself 707 00:33:39,760 --> 00:33:42,680 Speaker 3: and being in this industry, that there can be a 708 00:33:42,800 --> 00:33:45,200 Speaker 3: lot of anxiety. It can be a lot of that 709 00:33:45,400 --> 00:33:47,719 Speaker 3: tension of like this is my last job. I'm never 710 00:33:47,800 --> 00:33:49,160 Speaker 3: going to work again, Like. 711 00:33:49,320 --> 00:33:51,920 Speaker 4: Every job feels like it will be the last. 712 00:33:52,320 --> 00:33:54,040 Speaker 3: Because even if you're on a movie that's shooting for 713 00:33:54,120 --> 00:33:57,120 Speaker 3: three months, by month end of month one, you're like, 714 00:33:57,160 --> 00:33:58,520 Speaker 3: oh my god, I only have two months left. I 715 00:33:58,600 --> 00:34:00,360 Speaker 3: really I've got to look for and not what am 716 00:34:00,360 --> 00:34:00,920 Speaker 3: I going to do next? 717 00:34:00,960 --> 00:34:02,440 Speaker 4: What am I doing? What am I doing? And that 718 00:34:02,640 --> 00:34:04,240 Speaker 4: will drive you crazy and. 719 00:34:06,200 --> 00:34:09,480 Speaker 3: Will it just creates so much and I speak from 720 00:34:09,520 --> 00:34:13,040 Speaker 3: experience a lot of internal tension about what's next. So 721 00:34:13,640 --> 00:34:16,600 Speaker 3: first piece of device, just know that this, the current job, 722 00:34:16,719 --> 00:34:17,399 Speaker 3: is not the last. 723 00:34:17,520 --> 00:34:18,480 Speaker 4: It will not be the last. 724 00:34:18,600 --> 00:34:22,480 Speaker 3: There will be more, and that you just not only 725 00:34:22,600 --> 00:34:27,200 Speaker 3: like trust in that, but you everything will will create 726 00:34:27,320 --> 00:34:30,440 Speaker 3: the momentum that builds upon itself and the network you 727 00:34:30,560 --> 00:34:33,800 Speaker 3: have where the something will lead to something and it 728 00:34:33,840 --> 00:34:36,000 Speaker 3: may not be immediate, it might take a minute, but 729 00:34:36,120 --> 00:34:38,759 Speaker 3: it will it will be there. All of those things 730 00:34:38,840 --> 00:34:43,359 Speaker 3: will will start to align if you can, as best 731 00:34:43,400 --> 00:34:46,360 Speaker 3: as you can, put away some of the anxiety of it. 732 00:34:48,120 --> 00:34:49,600 Speaker 4: I mean in addition to that, I mean, I think 733 00:34:49,640 --> 00:34:49,880 Speaker 4: if you. 734 00:34:53,000 --> 00:34:55,319 Speaker 3: If you're kind to people and not only kind to people, 735 00:34:55,360 --> 00:34:59,160 Speaker 3: but kind to yourself in that process that like, it's 736 00:34:59,239 --> 00:35:01,319 Speaker 3: so much it's a. 737 00:35:01,320 --> 00:35:03,400 Speaker 4: Hard job to begin with that like. 738 00:35:05,200 --> 00:35:09,439 Speaker 3: If we're if you're working collaboratively, or you're kind to people, 739 00:35:09,680 --> 00:35:13,360 Speaker 3: it will make it just makes life easier. And so 740 00:35:14,680 --> 00:35:16,160 Speaker 3: if you can, like I find that if you can 741 00:35:16,239 --> 00:35:18,080 Speaker 3: let go of that anxiety of it but making it 742 00:35:18,120 --> 00:35:21,279 Speaker 3: all perfect and doing the right job, it's easier to 743 00:35:21,360 --> 00:35:24,360 Speaker 3: be kind to yourself and to the people you're working alongside, 744 00:35:24,440 --> 00:35:28,520 Speaker 3: because without that anxiety, it's just an easier space to 745 00:35:28,560 --> 00:35:29,480 Speaker 3: be in totally. 746 00:35:29,560 --> 00:35:31,920 Speaker 2: And there's a saying like talent will get you the job, 747 00:35:31,960 --> 00:35:33,839 Speaker 2: but your kindness will keep the job and your work 748 00:35:33,880 --> 00:35:37,200 Speaker 2: ethic usually, but like that because remember, like especially the 749 00:35:37,280 --> 00:35:40,920 Speaker 2: INtime industry, once you start to swim in those pools, 750 00:35:41,360 --> 00:35:43,800 Speaker 2: they're kind of small. Yeah, And so if someone's like, 751 00:35:43,840 --> 00:35:45,799 Speaker 2: oh my god, I just love working Christopher, like, it's 752 00:35:45,880 --> 00:35:48,279 Speaker 2: no surprise that Amy keeps being like, hey, I'm doing 753 00:35:48,320 --> 00:35:51,600 Speaker 2: this gig, come join, you know, And I think that that's. Yes, 754 00:35:51,760 --> 00:35:54,880 Speaker 2: you're obviously very hard work or and amazingly talented, but. 755 00:35:54,880 --> 00:35:56,759 Speaker 1: You're also fun to work with, you know. 756 00:35:56,840 --> 00:35:58,600 Speaker 2: And I think that if you're kind and fun to 757 00:35:58,640 --> 00:36:01,560 Speaker 2: work with people, and I think that that's my theory. 758 00:36:01,640 --> 00:36:03,000 Speaker 2: I haven't told you this, but that's why I think 759 00:36:03,040 --> 00:36:05,960 Speaker 2: ossies do quite well in the entertainment history, because they 760 00:36:06,080 --> 00:36:09,000 Speaker 2: work really hard, but they're kind of like free, chill and. 761 00:36:09,080 --> 00:36:11,040 Speaker 1: Very like, yeah, no worries, let's get that's right. 762 00:36:11,280 --> 00:36:14,080 Speaker 2: Like it's that fun, kind of laid back, but then 763 00:36:14,160 --> 00:36:18,160 Speaker 2: the work as well. And I think that's why American's like, yeah, 764 00:36:18,200 --> 00:36:18,960 Speaker 2: you okay, let's. 765 00:36:18,840 --> 00:36:19,040 Speaker 4: Get the. 766 00:36:20,560 --> 00:36:22,200 Speaker 2: I don't know that's my theory, but it's kind of 767 00:36:22,239 --> 00:36:25,560 Speaker 2: like what you're saying, like, work hard, don't worry, but 768 00:36:25,719 --> 00:36:28,879 Speaker 2: be really kind so that yeah, someone sees your work. 769 00:36:28,920 --> 00:36:31,960 Speaker 2: But also like Christopher was amazing on set, so he's 770 00:36:32,000 --> 00:36:35,080 Speaker 2: to work with kind fun. Let's get Christopher back. You know, 771 00:36:35,640 --> 00:36:39,759 Speaker 2: it makes total sense. I watched not to quote the 772 00:36:39,880 --> 00:36:42,680 Speaker 2: King of Movies right now, but I watched In with 773 00:36:42,840 --> 00:36:46,560 Speaker 2: Leo and Leonardo DiCaprio, by the way that's referring to, 774 00:36:47,040 --> 00:36:51,000 Speaker 2: and he literally said, they said, of course, And someone 775 00:36:51,040 --> 00:36:53,480 Speaker 2: said what advice would you have for your younger self? 776 00:36:54,080 --> 00:36:59,040 Speaker 2: And he goes, stop worrying and keep moving He's like, 777 00:36:59,200 --> 00:37:01,920 Speaker 2: just keep moving forward, but stop worrying about it. And 778 00:37:02,080 --> 00:37:05,160 Speaker 2: most actors say that a lot of creatives that freelance life. 779 00:37:05,200 --> 00:37:07,640 Speaker 1: You're like, where's the next thing? Can't come from? 780 00:37:07,719 --> 00:37:09,799 Speaker 2: Oh my goodness, I'm going to be out of pay rent. 781 00:37:09,840 --> 00:37:12,479 Speaker 2: Like there's that We leave that life in that freelance world. 782 00:37:12,560 --> 00:37:14,960 Speaker 2: But then there comes a point where you kind of 783 00:37:15,120 --> 00:37:19,000 Speaker 2: like do the work and turn that like anxiety almost 784 00:37:19,080 --> 00:37:20,640 Speaker 2: into excitement for the next job. 785 00:37:20,760 --> 00:37:25,120 Speaker 3: Yeah, one hundred percent. And if I mean there's nothing 786 00:37:25,520 --> 00:37:29,120 Speaker 3: and the more you do it, Like I'm not the 787 00:37:29,440 --> 00:37:32,440 Speaker 3: like networking quote unquote networking that is required in this. 788 00:37:32,680 --> 00:37:34,640 Speaker 3: I feel like I'm really bad at it. Like I 789 00:37:34,719 --> 00:37:37,799 Speaker 3: get really go to like a party or like an event, 790 00:37:38,160 --> 00:37:40,080 Speaker 3: I'm really gonna have conties and I don't know what 791 00:37:40,239 --> 00:37:43,720 Speaker 3: to do. Like, the more you do it, the slightly easier. 792 00:37:43,800 --> 00:37:45,439 Speaker 3: It's not gonna if I don't think it'll ever. 793 00:37:45,400 --> 00:37:48,520 Speaker 4: Be easy for me. You just have to bring a bud. 794 00:37:48,719 --> 00:37:50,560 Speaker 3: Yeah, But also the more you do it, the easier 795 00:37:50,600 --> 00:37:53,239 Speaker 3: it is. And like if it's a person you want 796 00:37:53,280 --> 00:37:56,520 Speaker 3: to work with. And I'm still practicing this every day 797 00:37:56,560 --> 00:37:58,640 Speaker 3: when I see a production or I see someone that 798 00:37:58,719 --> 00:38:00,600 Speaker 3: I want to get to know better or just have 799 00:38:00,640 --> 00:38:02,840 Speaker 3: a coffee with, not even in relationship of like please 800 00:38:02,920 --> 00:38:05,800 Speaker 3: hire me, but like just to get to know someone 801 00:38:05,840 --> 00:38:08,080 Speaker 3: else working in the industry, just send the email. 802 00:38:08,280 --> 00:38:08,719 Speaker 1: Do you know what? 803 00:38:08,880 --> 00:38:12,080 Speaker 2: I interviewed a big movie exec producer, and I was like, 804 00:38:12,160 --> 00:38:13,759 Speaker 2: what did I asked the same question I asked you, 805 00:38:14,080 --> 00:38:18,200 Speaker 2: and she goes Most people don't ask. Don't be afraid 806 00:38:18,440 --> 00:38:20,640 Speaker 2: of being like, hey, I'm a huge fan of your work. 807 00:38:21,280 --> 00:38:23,520 Speaker 1: Please keep me in mind, you know. 808 00:38:23,760 --> 00:38:25,760 Speaker 2: And I think that's how a lot of work happen 809 00:38:25,760 --> 00:38:28,640 Speaker 2: when you get the courage to ask let that anxiety go, 810 00:38:28,719 --> 00:38:31,160 Speaker 2: because I think the anxiety is a huge block on 811 00:38:31,400 --> 00:38:34,360 Speaker 2: so many levels, like spiritual, emotional, all the things physical 812 00:38:34,400 --> 00:38:36,719 Speaker 2: as well. But I think when you let the anxiety go, 813 00:38:36,840 --> 00:38:39,040 Speaker 2: and also I think there's a picture of like, hey, 814 00:38:39,880 --> 00:38:42,440 Speaker 2: you know, do look at your do look at your resume. 815 00:38:42,520 --> 00:38:45,480 Speaker 2: Its flip an unreal my friend, Like there's so much 816 00:38:45,520 --> 00:38:46,560 Speaker 2: cool stuff that you've done. 817 00:38:46,719 --> 00:38:50,480 Speaker 1: You are like this is for me. It just feels 818 00:38:50,560 --> 00:38:52,480 Speaker 1: like I can't wait to keep watching the rest of 819 00:38:52,560 --> 00:38:55,279 Speaker 1: your journey unfold. I hope we get to work together again, 820 00:38:55,360 --> 00:38:55,560 Speaker 1: but on. 821 00:38:55,600 --> 00:38:59,520 Speaker 4: A set, let's do it will always be asked. 822 00:39:00,640 --> 00:39:02,120 Speaker 1: Thank you so much for jumping on the pod. 823 00:39:02,239 --> 00:39:04,600 Speaker 2: You're flipping wonderful and to the listener, I'm going to 824 00:39:04,640 --> 00:39:07,400 Speaker 2: have your Insta in the show notes as well as 825 00:39:07,400 --> 00:39:09,920 Speaker 2: your website because I just think you're unreal and I 826 00:39:10,000 --> 00:39:10,920 Speaker 2: want more people to know you. 827 00:39:11,120 --> 00:39:13,840 Speaker 1: Thank you, Thank you emailed it. 828 00:39:16,200 --> 00:39:21,800 Speaker 2: That's a wrap on another episode of Fearlessly Failing. As always, 829 00:39:22,000 --> 00:39:25,320 Speaker 2: thank you to our guests, and let's continue the conversation 830 00:39:25,520 --> 00:39:26,279 Speaker 2: on Instagram. 831 00:39:26,920 --> 00:39:29,040 Speaker 1: I'm at Yamo lollaberry. 832 00:39:29,719 --> 00:39:33,839 Speaker 2: This potty my word for podcast is available on all 833 00:39:34,000 --> 00:39:37,919 Speaker 2: streaming platforms. I'd love it if you could subscribe, rape 834 00:39:38,040 --> 00:39:40,759 Speaker 2: and comment, and of course spread the love.