EP 407: The Production Department

Julie Harris Oliver: [00:00:00] This is the Catch a Break podcast, the insiders guide to breaking into and navigating the entertainment industry. I'm Julie Harris Oliver. You can find us at catchabreakpodcast.com and all the social media places at Catch A Break Pod, as well as all the podcast places. The presenting sponsor of Season four of Catch A Break is Santa Clarita Studios a full service independent studio featuring 35 sound stages, an amazing new back lot, featuring a New York and LA downtown street with interiors and an alley fully furnished production office space and suite style executive offices, along with post-production space dedicated to providing an attentive and personally tailored experience for all of their clients.

Santa Clarita Studios offers rentals and services to meet any need, any budget. Find them at santaclaritastudios.com. We are continuing our Project Greenlight series where we talk to the cast and [00:01:00] crew of Gray Matter and get the real behind the scenes of the behind the scenes. We are dropping these pretty fast, so if you wanna start at the beginning, go back and start with episode 401.

In this episode, I sat down with UPM Cory Sklov, Production Supervisor, Miranda Pacheco, and Assistant Production Office Coordinator, APOC, Fiona Widerman. Okay, have a listen.

Welcome to Catch A Break. I am here today with Cory Sklov. He's a Los Angeles native with over 20 years industry experience, having worked on dozens of projects from There Will Be Blood to Us to the upcoming Martin Scorsese Feature Killers of the Flower Moon as the line producer and DGA UPM. His most recent project is the feature film Gray Matter inside of Project Greenlight for HBO Max and CatchLight Studios.

Cory lives in El Sereno with his wife and two pets. Hello Corey.

Cory Sklov: Hello.

Julie Harris Oliver: We also have Miranda Pacheco. She is a producer and production supervisor who studied film at Columbia University in New York. Since moving to Los Angeles, she has worked on various [00:02:00] studio feature films such as West Side Story, Morbius, and Martin Scorsese's Killers of The Flower Moon. Gosh, do you guys know each other?

Additionally, she has produced various short form content including commercial short films and music videos. She was selected as an elite Latino lens producing fellow in 2020 and a women in Film fellow in 2022. Through her work, Miranda's committed to telling unique and personal stories at UPLIFT marginalized communities.

Welcome Miranda.

Miranda Pacheco: Hello.

Julie Harris Oliver: We also have Fiona Wiedermann. She's a New York City transplant living in Los Angeles for the last few years. She's an assistant production office coordinator. She studied theater and was working as a stage manager before jumping into the world of television and film. Since moving to LA, she has worked on a variety of projects, including Wanda Vision, Morbius, where she first met Corey and Miranda, Atypical and American Crime Story. And I think right now you're working on Grey's Anatomy?

Fiona Wiedermann: Yes, that is true.

Julie Harris Oliver: Hello Fiona.

Fiona Wiedermann: Hello.

Julie Harris Oliver: Those are incredible credits for having just arrived in town.

Fiona Wiedermann: I know. I think a lot of it is just like being at the right place [00:03:00] at the right time and being on the right like timeline that everyone else is on.

Julie Harris Oliver: Yeah. That is working out. While we have you talking, what was your very first job and how did you get it?

Um,

Fiona Wiedermann: my very first job in the industry was working as a set PA. So I studied theater and one of my theater. Professors had a director friend who was in town and doing a short film, and she needed some like day players.

And I had never, I'd been working in theater, I'd never done anything in television or film. And I thought, oh, okay, that's like an interesting experience. So we went to a nursing home to film. It was a short film, uh, about, um, this woman with Alzheimer's. And I went and my job was to lock up this nursing home.

Which meant I stood at the end of a hallway and every time the the elderly folks who lived in the home would try to like slam doors, I'd need to remind them that in fact, we were rolling and we need to be quiet. So I got a lot of time yelled at by, by elderly people. All the dementia patients, you [00:04:00] were reminded and so like, they maybe forgot or maybe they were just like trying to be sassy.

I feel like it was both. Oh my God.

Julie Harris Oliver: What was the short film?

Fiona Wiedermann: Eighth year of the emergency.

Julie Harris Oliver: Oh my gosh. Where were you studying theater?

Fiona Wiedermann: I studied

theater at breed college in Portland, Oregon.

Oh yeah.

Julie Harris Oliver: Interesting. Corey, what was your first job at, how'd you get it?

Cory Sklov: My first job was an office PA on a USA Network movie of the week called Hefner Unauthorized. It was the unauthorized biography of Hugh Hefner. Excellent. And the title didn't give it away. . That was in the, a while ago, and it was my very first job out of college. And I had, I got that job from a producer that I had interning with named Ben Myron. And I was about two weeks away from graduating college.

I was going to school here in LA and I was sitting in his office and he was a very nice guy. And he asked me, well, what do you want to do when you graduate? I said, well, you know, I want to get in development or something or another like that. And he thought, well, you know, I have a movie going into production [00:05:00] in a few weeks. Um, do you wanna work on it in the office? I was like, that'd be great. He picked up the phone, he called the line producer and said he was the lead producer on it. He called the line producer and he said, Hey, I have this guy Corey, who's just about ready to graduate college, he liked to work in the movie, can you please give him a job?

And sure enough, they happened to be prepping right down the street. I went over and met the line producers, this woman named Lean Moore, and she gave me a job. And I started within two days of graduating. And that was my very first job outta college. And it was on that very job that led to people that I still work with this very day.

So, Well , that worked out

Julie Harris Oliver: well. Been crazy. Okay. Miranda, how about you?

Miranda Pacheco: My first job where I was paid was an internship at Scott Rudin, this company, , in New York. And then my first job that wasn't an internship was being a PA on commercial.

Julie Harris Oliver: How was that Scott Rudin job.

Miranda Pacheco: It was really cool and [00:06:00] crazy and that's why I also think that of that as more of my first job because that was my first time working in the industry and getting a sense of what I wanted to do and what the industry had to offer and learning a lot of things that I was interested in.

Julie Harris Oliver: How'd you get the internship?

Miranda Pacheco: I found a post on a job board for my college. Um, where an alumni who is an exec at Scott Rudin at the time, had posted. An opportunity. And then I replied to that post and I had an interview with them and they said, okay, well we'll reach out to you in, you know, the next few weeks.

And then I did not hear from them again for six months. And I had to follow up, or I chose to follow up with them like every week. No response completely ghosted me. And then randomly out of the blue, they were like, can you start tomorrow after six months? I, oh my god. Um, yes. So it was kind of crazy.

Julie Harris Oliver: And you followed up every week for six months?

Miranda Pacheco: Yes. Or around, maybe not. Much, but it was consistently, I [00:07:00] consistently just emailed them to see if anything was happening.

Julie Harris Oliver: Okay. Now I think that is fairly unusual. People might give up after a couple times of following up and you never heard anything. Why did you keep following up or how was, how was your head space to do?

Miranda Pacheco: Because it was Scott Rudin and I had nothing to lose because I was a college student. It was looking for any brand there. It's. Yeah,

Julie Harris Oliver: you have nothing to lose. What if they say no, you're no further, , nowhere's south than you were a minute ago.

Miranda Pacheco: Exactly.

Okay.

Julie Harris Oliver: Let's start talking about this whole Project Greenlight experience. Now, I know I've heard from other people, Corey, Miranda, that you had to call people and talk them into, well offer them these jobs and talk to 'em about what it would be like being on camera. But let's back up to when you heard about what this job was and how it was gonna be on camera, and what did you think of all that?

Cory Sklov: Well, I guess, uh, I was reached out to, by Jeanette and Yolanda reached out to me, I think in February of, of 2022. I was working on another project in Pittsburgh at the time and then reached out to me about the Project Greenlight series. , [00:08:00] and the first thing they said, This is an opportunity we would like you to come on as the unit production manager of the UPM and this is an opportunity for you to, um, you know, get to the DGA and, okay.

Julie Harris Oliver: So you weren't a DGA UPM before this?

Cory Sklov: Correct. So I've always been a production supervisor. Mm-hmm working on mostly studio films and you know, a lot of the times that job, you know, does a lot of the same things as a DGA UPM. Okay. Yeah. , and certainly on lots of the project I worked on, just the structure was such that that was the case.

But it's hard, you know, when you are working on studio films like that to crack into the DGA and you end up sort of, you know, just, , working in that supervisor space on some very cool movies with great people, but you kind of hit your head against the ceiling when you're trying, if you want to get into that next door, Strat of the UPM world.

So this was presented to me as an opportunity and I felt like I was kind of at this point in my career, I wanted to take that next step and, you know, it was, it was a tough decision and it was something I know that [00:09:00] I kept on, you know, going thinking was that the right decision and going back on it. But at the end of the day, it was a great decision and I think I worked with so great people and, um, you know, that was really the driving force to do the movie, do the project, even in the face of the docu series of it all, to me that was.

Yeah, the reward worth, the, the stress or whatever came with it. With the docuseries.

Julie Harris Oliver: So let's talk about the DGA of it all. Because kind of once you make that leap, there's no going back, right?

Cory Sklov: No, you can, uh, you can, you can straddle between, uh, DGA UPM work and supervisor work. You can't, you can't work as a production manager on non DGA films.

So it's hard to have the title production, like unit production manager and supervisor are two different positions, right? So the unit produc, unit production manager, the UPM is a covered position within the DGA contract production supervisor is not. Right? Right. So, in fact, I just did like a three, four weeks, second unit in Pittsburgh that I got back from just a couple weeks ago.

[00:10:00] Something just to kind of fill the time or as a supervisor, you know, so,

Julie Harris Oliver: SO then are you eligible to work in LA as a DGA UPM or are you gonna have to work outta town now?

Cory Sklov: Well, it's even more complicated than that. Okay. So I am eligible to work anywhere in the country, but I have to be grandfathered in and be an incumbent as the show signs a signatory paperwork with the DGA.

So what that means is, for instance, uh, I'm actually prepping a show right now, another tier one independent that's gonna shoot in LA in October and they were gonna go DGA and I got hired just enough and just enough time to have my name included on the signatory paperwork that goes into the DGA. So now I am able to work on it cause I was listening as an incumbent as they sort of signed up.

It's kinda getting grandfathered in.

Julie Harris Oliver: So if you get hired before they become signatory, you can actually do it?

Cory Sklov: Correct. Once they, if they, once they become signatory, I can't work in LA because one, I'm not in the first area. QL here in California, ql and two, the other sort of [00:11:00] major national qls, what you call the third area ql, which is pretty much everywhere in the country, aside from New York and LA for the most part.

Mm-hmm. . And to get into that world, you need 120 days working as a UPM on DGA shows, and 90 of those days need to be shoot days. Right. So, you know, On these types of films, these tier movies that tend to be anywhere from 18, like Gray Matter to 20, 25 days shoot periods, it takes a handful of those to get into that third area.

So yeah, I'm chipping away at that.

Julie Harris Oliver: Okay. Thank you for the DGA UPM Premier. Sure.

Cory Sklov: There you go.

Julie Harris Oliver: It's very complicated. Yeah. Miranda, how about you? Why the taking on the Project Greenlight part of it, how was that?

Miranda Pacheco: I think to Corey's point, definitely an opportunity to take on a bigger role. This is also my first production supervisor experience. Um-

Julie Harris Oliver: And before that, what were you doing?

Miranda Pacheco: Coordinating. Okay. So a jump up in that way and just [00:12:00] taking on more responsibility, learning more, having, uh, a lot of, or actually before this project, Similar to Corey too. Um, my experience had been on much larger studio projects. So being, it was appealing to be on a smaller project where you do have, get to wear more hats and can take on more.

It's not so, , so sort of stratified in the way that, , bigger movies are. And then the other piece of it, I think that's significant and that was appealing about Project Greenlight, is the idea of showcasing a project in a way of making a movie that is equitable and actually empowering, you know, on, in a production sense.

Because working in production, as I'm sure Corey and Fiona can relate, there's a lot of situations and just sort of negative elements that you find in those environments that, for [00:13:00] myself, it's very important to try and change and to try and make the, the workplace just better for everyone and more diverse. And so I felt like this project was, that was sort of at the core of it, was trying to showcase a different version of a film set, , that is aspirational. And so I want to be a part of that process.

Julie Harris Oliver: I love that. And then you could be in a position to help shape that culture.

Miranda Pacheco: Exactly. Exactly.

Julie Harris Oliver: Because on the one hand, you would have a broader scope of what you were doing, a higher position, a smaller show at the same time with a much smaller budget.

Miranda Pacheco: Is it a lot harder? I think yes, there are. I guess it's harder, but production is always hard. , you know, because bigger show is just bigger problems. Yeah. Like , you know, in, in a smaller project. In a way, the ease of it comes from the fact that, you know, you can't do certain things because there are limitations that are very real.

And yeah, I would say so. In a way it. I don't know. There's, it's [00:14:00] almost, there's bumpers on everything you're doing because there's a budgetary restriction. It's clearer. Yeah. Yeah. So it's just a different type of problem solving, I guess. Mm-hmm. . , and you have less people to solve those problems, which on a bigger show you have more resources.

So there's a lot more staff. Like our staff in production, the office was smaller, you know, we didn't have a coordinator. So it was kind of also in my position doing a lot of that work and then also Fiona doing a lot of that work too. So, you know, it's your, where you're have more responsibility, but I don't think it was necessarily that much harder.

Julie Harris Oliver: Fiona ?

Fiona Wiedermann: Yes. Hello.

Julie Harris Oliver: How'd they get you to do this job?

Fiona Wiedermann: So funny. I was in between jobs. I was actually helping out a friend, helping her with wrap, wrapping up Picard and I'm like driving home from Santa Clarita, which is always a Trek . And I got a phone call from Miranda and she starts talking and she truly like, probably like 20 minutes of just full explanation of [00:15:00] like, she, it's, she was trying to tell me like she knew I was gonna say no.

I was like, great. We have the greatest team. Like it's amazing. Let me tell you, all that lady in my cell look at all of these things. For me, it wasn't really a hard sell. I felt like this was my first, , assistant coordinating position and I definitely felt like I was ready for that. And I had kind of been dragging my feet, , mostly cuz it's a lot more responsibility.

So I wanted to make sure that I was in a head space where I was ready to take that on and support it and support it felt like it was gonna be a good group of people that I could like trust to, to know that it was my first time and I could make those mistakes and I could learn and all of that. And she was selling it and I was like, honestly, this kind of sounds amazing.

Julie Harris Oliver: Like, what's the catch.

Fiona Wiedermann: Didn't know. You know, there's a lot of things in respect that I, I didn't know, I don't think any of us knew. Mm-hmm. going into it, what it would really be like. But in theory I kind of knew that they probably wouldn't like film me too much, but it's like, that's fun. Oh, there's a reality crew.

Like, that's interesting. [00:16:00] I like watching unscripted shows. Like, I won't be the Star, but like I'll know the people in the show and that'll be really interesting to see. It's almost like you get a, a behind the scenes. Like obviously I'm not in post, I'm not cutting together their show, but I know what I saw.

So it'll be really interesting to see how it's presented and see like mm-hmm , how those narratives line up, how they don't like, just like how a story gets told. Yeah. Interesting.

Julie Harris Oliver: So what I'm hearing is that you were all bribed with promotions to get on set.

Cory Sklov: Yeah, you're right. Definitely the promotion and the, you know, the ability to kind of, like you said, take on more responsibility that comes with those promotions.

Yeah, and I think that, , the show really helped foster that sort of. You know, that, , responsibility because I think Jeanette, Yolanda, and who are the main producers we've worked with, were supportive from day one. Mm-hmm. . And we're very much just sort of like, you know, here you go, fly, figure it out. You'll, you know, you can fly, you know how to use your [00:17:00] wings, so now's your chance.

Right. And mm-hmm. , you know, I, I've, I, I really enjoyed working with them and I think us as a team really, you know, obviously really rose to the occasion. Well,

Julie Harris Oliver: as everyone is telling us, you totally did. So how did being on camera affect how you did your job? Did you have to do things differently?

Cory Sklov: Yeah. Yes, it was, , it was really hard. I think, and I, did it get easier towards the end? I guess a little bit, like, just like anything, certain things became set in nature. Mm-hmm. , but. I found the hardest part was when we were in prep in the office because. Totally. It was so confined and we had a, we only had a six week prep on this film, which is very fast.

And in the six weeks we had to crew up, which was very hard. Not only is it hard to crew up on a tier one movie in LA it's hard to crew up with such little prep and it's hard to crew up when you have to go project, like everyone was talking about. Yeah. Yeah.

Miranda Pacheco: And it's so busy and it's so busy.

Cory Sklov: So, I mean, I just know from my [00:18:00] experience, the hardest part was every day we'd walk in and I would make it a point to get there early because before the, the docu crew got in there.

Cause it, soon as they came in around 8:30 or 9:00, you got mic'd up right away. Mm-hmm. , right. And. You know, a lot of our jobs and you know, my job is a lot of talking on the phone and talking to people in meetings and you know, sometimes you, sometimes in meetings get, not not really tense, but sometimes you just need to be able to talk freely and, you know, ask people questions that maybe make them not uncomfortable.

But you know, you're sort of trying to get, trying to get to the point of something, I guess. And sometimes you need to be direct. And I felt like I was holding back a lot, not holding back from being like jerk or anything, but just holding back from really saying what I wanted to say to get to the point.

Yeah. And it's hard to convey that on a text, so it's hard to convey that in an email .

It was, I found it pretty tough and like, I feel like I couldn't do my job how I was used to doing my job. And I think in spite of all that, it's still turned [00:19:00] out I think as good as it could have. But I know that on my job since then, it's been a lot easier.

Julie Harris Oliver: You're like relaxing.

Fiona Wiedermann: Yeah. Not being filmed.

Julie Harris Oliver: Like I gotta think when you're making deals with people.

Yeah. I would guess both sides of that doesn't want that public.

Cory Sklov: Correct. Um, you know, every time you talk to someone on the phone, , They wanted Are you about That's interesting thing. So what happens is, cause I was on the phone constantly and at the very beginning they'd always come in and ask like, Hey, put on, they gave me like a little script basically when you have someone you, they always wanted to put on speaker and you always had to let that person know that you, you, that the conversation was being recorded.

Right. Yeah. And I think, I think I played along for like a day, but then I realized this is actually very hard and it's actually kind of slowing down my process. Mm-hmm. and getting the way of my process. And I just kind of stopped doing it and they stopped asking me to do it. So I don't know if they understood that there was just a certain understanding there.

Julie Harris Oliver: Yeah. , like if they knew they weren't gonna air that, [00:20:00] You don't speak

a much higher chance of that phone call getting on screen.

Cory Sklov: Exactly. Most people I talked to knew why I was calling and what was happening. Cause I always kind of joke like, yeah, I'm Mic' 24 7. Pretty much so. Yeah. Yeah. Like right now.

Right now for example. Is that OK with you?

Fiona Wiedermann: They're like, you're sure. I guess that's tough.

Miranda Pacheco: but also I think what's important is the context of how they were working with us in prep, as in our office was also their office. So they were set up pretty much right across the hall from where Fiona and I's office was.

Cory Sklov: And so all day we could kind of hear the interviews that they were recording. The control room was like across from where we were working and it was just a bizarre proximity and they kind of, you know, it's like. They're standing in the hallway filming you at your desk as you're working. And it's a direct eye line.

[00:21:00] Like, so it's things like that, that we're just staring.

Julie Harris Oliver: And you're on the monitor in the

Miranda Pacheco: next room? Yes, exactly. Weird. Like literally within, you know, earshot Yeah. From where you're working. So it's kind of this weird,

Cory Sklov: and I think even day, there are three cameras and three booms always around and like three or four producers, you know?

Yeah. In this pretty small office. The very

Miranda Pacheco: small office, you know. ,

Julie Harris Oliver: so did you become less self-conscious over time? It's

Miranda Pacheco: impossible to be less, I mean, because they, you're just so aware of their presence. Once we were on set, , because our office, we sh, we had a production office that was at Occidental, and then we closed that office when we started shooting, and we opened up a new office that was on the grounds of RSI, the location where we shot the entire movie.

So in that new office, they rarely came around. It was a lot more, I think that that's when we could actually be. More comfortable in work in a way that we're more used to working because you didn't have that 24/7 presence?

Cory Sklov: , kind of a, I [00:22:00] kind of adapted to it a little bit, you know, I think I got a little more comfortable and certainly once we started shooting, they weren't in your face so much all time.

Mm-hmm. ,

Miranda Pacheco: well, there was just more for them

Cory Sklov: to cover. You had more space to kind of spread out. Right. And you weren't kind of confined to this small office, this small lot. If you wanted to have a private conversation, you could, right? Mm-hmm. , even though you were still micd all day long, we were so far spread out.

And I think a lot of the times, like they could have been, you know, half a mile away. And if you're in our offices, no one's really catching what we're saying unless they had. Mic's all over the place.

Julie Harris Oliver: They're in a van with their headphones.

Miranda Pacheco: Unless they came back. There was one time when they came and it was like 3:00 AM and they were like, oh, can we film you guys working at 3:00

Cory Sklov: AM Like, dude, what would you be doing right now?

That's like, well nothing, 3:00 AM . Yeah, but I guess we're like, we were looking at some PC envelopes or something like that, but

Fiona Wiedermann: Oh, that's

funny. Fascinating. So yeah, I feel like prep was difficult cuz I mean, yeah, we were right next to each other.

Miranda Pacheco But they were very uninterested in like that, the actual work. I mean I'm sure a lot of what, especially Fiona and I, and in the office we're doing will not be in the show because it's just so boring.

There's nothing actually even in their control room. You know, I would overhear them saying that it was too boring. But like , that show was just, you know, playing. It was not interesting, not enough in drama.

Julie Harris Oliver: Had you seen the prior series?.

Miranda Pacheco: No, no, we still haven't watched it. Yeah, I want to [00:24:00] though, but I think there's a fear. There's a, a fear to watch it.

Cory Sklov: Well, I wonder if part me is like didn't wanna watch it because I'd already agreed to this and was moving on.

I didn't wanna like, just

Julie Harris Oliver: was like honestly I think just as well cuz like the last season was very dramatic and I think it may have, I'd be nervous doing it

Julie Harris Oliver: Was Covid also surging at the time? Did that add an extra layer of-

Cory Sklov: we, we, we got lucky.

We,

Fiona Wiedermann: we just did a good job. We, good job. It was Surging. It was, and we had an amazing Covid coordinator, Hosai, who was amazing. Incredible, like, incredible. And we didn't have the whole time we were shooting, never. They

Cory Sklov: were positive Zero cases. We never shut down. It was awesome.

Miranda Pacheco: It was amazing. I mean, she. Hosai, the CCO is honestly the best in the business.

Yeah. Best in the business.

Cory Sklov: She's working on winning time, season two right now.

Miranda Pacheco: We were very, very lucky to have her. And yeah, weirdly that it was completely

Cory Sklov: safe. Yeah. We would've, , COVID perspective, it would've been a, it would've been really a big problem if, , a huge problem if anyone on our league house.

We had, well, we

Miranda Pacheco: didn't have time. We didn't have time. Well, there was no way to shut down . It was, if we would've shut down, it would've killed them entire [00:26:00] movie pretty much. So definitely that was amazing. All right. Good job. Good job.

Julie Harris Oliver: So what happened in the making of the film that you think won't hit the show?

What was the challenge or something that you had to figure out or overcome that may not make it into the shoe. I don't know if you know yet. That may not be a good question.

Miranda Pacheco: Yeah, I guess I don't think any of us are aware enough what the direction of the edit is going to be. Mm-hmm. , because there's just so much, I mean over because-

Julie Harris Oliver: they see everything.

Miranda Pacheco: Yes. They saw everything like to Fiona, and they've heard Fiona said. Even. I think the thing that's most interesting maybe to us is when we watch the show, the things that we're gonna see that we weren't even aware of in the actual moment. Oh yeah. Because we didn't have the type of access that they had.

We only have our direct experience, but they saw everything, so they were privy to a lot more conversations and things that were going on, then we even-

Fiona Wiedermann: Oh, that'll be so interesting if you had a [00:27:00] conversation. But then you hear that the other conversation I had before completely different. Exactly. Or just, you know, the dimensions to what was going on that we weren't, we couldn't have been aware

Cory Sklov: of.

It's interesting to think that there'd be something that we either thought was good or not negative that they wouldn't want to put into the series. Right. It's almost like the mundaneness maybe wouldn't come in in some reason.

Miranda Pacheco: Exactly. But yeah, like a lot of just the office stuff, like they shot, you know, they, they were always coming to us, not always, but they came to us many times in the office and said, oh, we want to interview you guys.

We wanna film you guys doing your work. And we kind of were like, this is not gonna be in the show. This is so boring. Us filing papers or, you know, just sort the, the actual work of running a production office. I don't think that that's necessarily compelling enough to make it into the show. I would be surprised if some of that, you know, B-roll stuff that they shot makes day.

Yeah.

Fiona Wiedermann: I think there definitely were a lot of challenges, but I feel like they're like [00:28:00] quiet challenges . Yeah, exactly. So it's like hard to show that in the film, like a compelling way. Success of like, oh no, we need an order. But our crew didn't tell us till 6:00 AM cuz that's when we wrapped. Exactly. I'm the early shift, but I'm not until noon, so then I need to call a vendor.

But then we're in Pomona and the vendor's in Culver City and how do we get, make sure we have and then close for tonight.

Miranda Pacheco: Yeah, exactly. There was a

Fiona Wiedermann: lot of that stuff. No,

Miranda Pacheco: no. I will just say because there has never, of everything that I've worked on, I don't think. This show had the, by far least drama, it was so undramatic in moments that it was because the people were so nice. I mean, everyone on the crew, there was no one who was, I think, inherently super dramatic in the way that we've experienced on other movies.

Yeah, it was a very, very, very kind, respectful crew.

Cory Sklov: I think we had a few bumpy moments and I'm sure it'll be in the show, but at the end of the day, we all had, I they went, it went well, you know, as well as it

Miranda Pacheco: could have for that situation.

I don't, I would be very surprised if [00:29:00] they show any of the, the reality crew in the TV show. I don't think that they will because yeah, especially that type of conversation really,

Julie Harris Oliver: I mean, that just gets so meta. Like you have a docu crew on the reality crew on the film.

Miranda Pacheco: Well they do, they endorsed us, you know, in, in interviews they would say, similar to your question, oh, what are the challenges? Of having the reality crew like you Buddy's. Exactly. You know, that was a weird thing cuz they also became so close to us. A lot

Cory Sklov: of their crew, they're all really nice people. We all got, we worked together for two months.

Mm-hmm. three months. Mm-hmm. , side by side. You know, people who were doing your job, but on the other side of the camera. Yeah. Really? Cause you had two corrections. We were about, our crew was like 80, 90 people. Their crew is like, like 56, 50, 60 people bigger. So you had these two massive units moving alongside each other.

You know, using the same resources but also completely independent of one another. Right, right. And they're your kind of people. Yeah. Yeah. Well that what we're going through, you know, we know what they're going through, they know what we're going through. And you know, [00:30:00] everyone's professionals and you know, we all had our counterparts on the other movie, you know, there was a line producer on the other end who I constantly dealt with cuz we had to share a lot of costs.

Right. And mm-hmm. . Yeah. That was always, and that actually ended up working out pretty, I thought it worked out pretty well.

Miranda Pacheco: It was cool too, that visibility of a different type of production because unscripted is so different in, even though as Corey said, there are, there were some counterparts, it's still a much different production infrastructure than narrative.

Yeah. And I think all of our experience has been only a narrative. So we had never, you know, it was a lot of interesting just production insight into, oh, this is how unscripted shows work and are put together and learning all of the different, , titles that they have on their side of things. And as Corey said, the people that we were working with from the unscripted side were like the best in the business.

Yeah. Like they work on all the biggest shows. They're sort of at this [00:31:00] elite level that's similar to a lot of the crews that Corey and I have worked with as well on the narrative side. So that was kind of cool too, to like interesting work with the best and the biz for unscripted.

Julie Harris Oliver: I'm gonna do a quick plug for a complete breakdown of narrative versus unscripted season one Catch a break. . Okay.

Miranda Pacheco: Love it.

Julie Harris Oliver: So let's just focus on the movie for a minute. What were some of the biggest challenges that you needed to make happen on the film? I know it was a short prep. It was a short shoot, it was night shoots, you were out of town. Like, what were some of the, what were some of the real challenges in getting the film made?

Cory Sklov: Well, in my opinion, , you know, The budget was, , was pretty tight. , and I think the, the biggest challenge was the truncated prep in and of itself, cuz even if you do ever have like a six week hard prep, you have months ahead of that where you're lining up crew, right? Yeah. And we were finding crew within that time and I felt like a lot of departments probably got shorted on prep and movies like this are made in prep [00:32:00] and we had to make a change in our art department, you know, two or three weeks in, which I think really set us back.

And , I think that that'll definitely be the show that really hurt us. And I think that, you know, there were uncertainties about location and when we could shoot in certain places and the script kept on going through changes. And you know, when I look back on it, I definitely think that certain things suffer by not having people be able to prep more together.

I think Andrew could have used more prep with, , Meko and Danny. Their time together just felt really crammed in. And I think that Meko, you know, I think did a really good job. I just think that, , you know, she was so busy with so many other things, right? All the script changes down to last second casting that went down to last second that it kind of took her away from really prepping the film, I think the way it needed to be.

And I think we had a few, the visual effects side of things was pretty difficult on this. , you know, we never really had a cohesive visual effects unit team planned in place. [00:33:00] And when I look back on it from my point of view, I think that's something I definitely learned a lot about and how I could have done a better job to sort of push that department forward and get a lot of that answered.

And I think there were times on set where it could probably slowed us down by not having a clear idea of what we wanted to do visual effects wise. And I know in post they've had, it's been a, it's been a thing, but, you know, I think they're, they're figuring it out and, , like I said before, the doerries would all also have things sort of hampered some of the prep that we could be undone on normal.

Miranda Pacheco: Yeah, I think from the office perspective, there wasn't many crazy issues. As Fiona said, the, just the weirdness of the nights. Yeah, made it hard to pivot very quickly in getting, , new equipment in or changing out equipment. Also, we had a very small staff because it was literally just three of us.

Julie Harris Oliver: So were you working days while everyone was working overnight?

Miranda Pacheco: No, we had, , basically split like staggered calls. So there would be an early shift that would start at, you know, 11:00 AM [00:34:00] or noon-ish, and then a later shift that would probably come in at like one to two. So, and then we just were in that window. But we wouldn't stay through the whole night usually. Some nights I would stay through some, you know, until the early morning hours. But there's not that much, there wasn't that much for us to be doing super late in the AM. So we would kind of be, yeah, about afternoon through the middle of the night.

Julie Harris Oliver: So if something happened overnight that, that you needed to like order new equipment or something in the morning, you would just find that out when you come in and try to get it done the afternoon?

Miranda Pacheco: Exactly.

Fiona Wiedermann: I think, yeah, I mean, talked a little bit about how communication was challenging, but like that truncated time period to get things done is challenging. Also difficult that there wasn't really like one mode of communication. So like somebody would text Corey at like 4:00 AM mm-hmm. and then like Corey would tell Miranda and then I'd find out at like 11 or like, and then we couldn't get drivers cause we couldn't bring drivers on early cause they have to work overnight.

Right. So we'd have to, lady who's amazing, , [00:35:00] did so much driving, so, so much driving like her knee was hurting because of all the driving she was doing. Cause we had to go back and forth

Miranda Pacheco: because the camera in the house that we used was all the way in Culver

Fiona Wiedermann: City. I know in retrospect, I guess we didn't know exactly where our location was before we fixed the camera vendor.

But I wish that had factored in our vendors when we were going to be

Miranda Pacheco: Yeah. I think we, Corey and I were talking about this the other day, we probably would've gone with, would be a different camera vendor, but, , that's a good job. Yeah. They, yeah. Good job in some ways.

Julie Harris Oliver: So would you have to check in, like, would, would drivers check in with you before they left LA. Like, do you need me to pick something up on the way in?

Miranda Pacheco: Well, we, it was just so small you couldn't really-

Cory Sklov: We made it work from time to time.

Miranda Pacheco: Yeah. But the, our transo department was so small that it was just such they could not really help us that much in the office just because of the hours and just the number of drivers that they had was very, very limited. So, uh, they were extremely the at [00:36:00] really well run department, and they did help us out as much as possible. But a lot of it was, you know, we just kind of, as a department of three people had to just make stuff happen basically between the hours of 12 and 5:00 PM.

Fiona Wiedermann: I got really, really comfortable talking on the phone because I knew, I found out pretty quickly no one was gonna respond to my emails as fast as I needed them to. Exactly. You know, like they didn't have the urgency that I have because what, what, why would they have urgency about this thing? They don't really know how much I need something. , so a lot of phone calls, a lot, a lot of phone calls. And I think in the beginning it was kind of weird.

I'm like, I first time as an assistant coordinator never really interacted with vendors that much individually. I feel like by the end of it, I could cold call truly anyone and be like, Hey, so I need this thing. Here's when I need it. Here's the urgency. Like,

Miranda Pacheco: exactly. Yeah. And that's, that was a good, good part about it was it was just such a masterclass in a way, but then also, our team of myself, Fiona, and Laney, was so strong.

I mean, honestly like was [00:37:00] very, very strong for the demands of the project. I think there was nothing we could've really done

Cory Sklov: better. So like one of the, one of the hardest things I think you guys had to deal with Lady's Shoulder. Most of this was the courtesy hotel aspect of it, so Oh, that's true. That was huge.

Yeah. She now in Pomona,

Miranda Pacheco: I'm sorry, say that again? The courtesy, courtesy. Hotel. Hotel

Cory Sklov: court. Talk about that. So shooting on Pomona, you're technically within the 30 mile studio zone, right, which is, as the crow flies, it's a 30 mile radius from Los and Beverly, I think, right? Yeah. And like Pomona is literally on the edge of that.

But because we were shooting. You know, through the night people were driving out there in traffic and then they were going home in traffic too. And you had people who lived in like the Hills, Calabasa, driving all the way. So you offer over a hundred miles. People were driving. It's not a requirement, but of course for safety you have to offer it.

Yeah. And it was something where we just asked people to let us know, do you need one? And sure enough, like so many people every night almost. And we were also trying to be, you know, as, as efficient with the money as possible. [00:38:00] And lady was just, did such a good job of constantly staying on it. And you know, I think she did a great job.

We, we always had a room to offer someone they needed it and we also didn't overspend. And it was just that perfect balance of being able to offer the people rooms but not spending 20, 30,000 more dollars than we needed to. Yeah. We spent. I think we ended up spending like almost $40,000 in courtesy Hotels as well.

Julie Harris Oliver: So would you have to manage that like real time with the hotels to make sure charge?

Cory Sklov: Yes. She would leave at a certain point, right? Like at, and then she'd let, she'd hand off it to me and then there would be like a handful of people and people knew leave reach out to me and I had sort of a staff of like five hotels in my pocket that I'd say, well go here.

But then we just got to the point, I was like, okay, who wants hotels this week? just, yeah, just book 'em out after. And we just booked 'em out and then people just, people were really grateful that we were doing that and so many people came up to us and just like, thank you for the hotel. It just, it save us.

And yeah,

Fiona Wiedermann: it was also exactly when the state fair was happening, it was also happening , so it's also happening in [00:39:00] Pomona. Oh my God. So the hotel business, like Laney was calling every hotel they'd like switch. The shifts would switch cuz our timing is weird. So she'd be talking to one person and then like they would go home and then she'd have to talk to the next person and like start reiterate and like, I mean, by the end of it, I think they started to just know who she was.

Oh yeah. She was talking to the same peoples.

Cory Sklov: Oh, that was a challenge. I think the challenge shooting RSI was a challenge. , just the commute itself, the long nights out there. Mm-hmm. and you know, yeah. And there were times where we were trying to open up the world a little bit and find locations within the RSI world that didn't feel like rsi.

And , I'm sure youve can speak to that better when you talk to her. You know, there was obviously we wanted to go bigger and further field to show more of a world out there, but, you know, financially in the way our schedule was, was very hard to really move anywhere outside RSI. Cause we had a jam packed schedule into 18 days that was pretty aggressive.

And we did it, [00:40:00] but it was tough.

Julie Harris Oliver: I did wanna ask, I know so many people have talked about like most diverse crew ever, really great culture. Were you all involved in the hiring of that and was it different than how you normally hire and how did you go? About a hundred

Miranda Pacheco: percent. Yeah. That was actually. the Be again, one of the best parts of the process.

And this project, one thing, which I'm sure people have plugged, obviously Jeanette and Yolanda will plug Crewvie. It's great. ,Crewvie that was a big, basically it is a crew hiring platform for producers and also crew members to create profiles for themselves, for producers to see. There's also some more, , production office-y elements to it that productions can utilize, like a crew list feature and things like that.

And they have their own sort of diversity metric where you update Crewvie to include all your crew members. And then they put in how, how they identify in various categories. And then it will sort of tell [00:41:00] you if your project meets a certain standard of a diverse hiring. So our show was I think, far and above the standard that they have even, but then also it didn't even include a lot of executives and, , people connected to the project who just didn't complete their profile, who were people of color or, , women in power. So I think it was actually even more diverse than the Crewvie analysis reflected. But a lot of, we used Crewvie to hire some of our crew because we found their profiles, individuals profiles on Crewvie and then just reached out to them.

As Corey said, we had a very, very tight window to hire people in. So a lot of it was just calling as many people as we could who seemed like they would be a fit for the project based on their experience and their potential willingness to work on a tier feature. And we found a lot of great people Yeah.

From there. And then otherwise, just from the normal hiring way of, you [00:42:00] know, word of mouth or people that jeanette and Yolanda had known, or Corey and I had known like obviously, , Lady and Fiona, who we had both worked with before. Yeah.

Cory Sklov: And it was just important. One of the first things that Jeanette, Yolanda told me when I first interviewed with them with them is how important it was to build all diverse crews.

I think with them, along with help of Crewvie and you know, obviously all of us feeling like it's a very important piece of this business. , it was instilled from the start and certainly by, you know, hiring Meko as the director, um, then on down. It was, it was important and I, I think we did a very good job.

Julie Harris Oliver: So what would you say to people who say, it's so hard, it's gonna slow me down. You're asking me to introduce risk onto my production. What would you say to that?

Miranda Pacheco: You have to try. Yeah, it's not, it's not a good enough reason to not do the work, especially with platforms like Crewvie and even just from what we saw, I think the concern of, oh, I'm going to have to extend [00:43:00] myself more as a manager because I am potentially taking a risk, hiring someone who doesn't necessarily have the resume or the experience, or I'm not familiar with them, haven't worked with them before.

All of those don't outweigh the obligation that everyone who is a manager in this industry has to make things more equitable. And then the other thing too is it was the best. Like I said, the crew was so kind, was so respectful. There was suc an energy and a goodwill that people had. And that is a benefit in itself.

Yeah. That maybe outweighs some of the other difficulties of having to put in more work or, you know, help people to learn how to work in a, a way they may not have

Cory Sklov: known before. And I think people who say, , it's gonna slow me down or this, I think that comes out of just fear, you know, and insecurity potentially, and your own job and fear for your job that if you go outside of your comfort zone, that it could reflect poorly on you.

And I think, you know, I [00:44:00] think we all have the responsibility and duty to. , take those the chances, you know, and make sure that our crews represent the world we live

Fiona Wiedermann: in. Yeah, I would say also, just to add to that, when you work with the same people, everyone has the same vision. You're all on the same page, and it might be like easy, but I do think that you legitimately it will make better art.

Like your project will be better, the story will be more nuanced because you're getting different viewpoints, not like the same people that you've worked with forever.

Miranda Pacheco: Mm-hmm. . Sure. And there was a lot of people on this project, I think specifically who said that they came away from it feeling more seen, feeling more a part of the project because there was that comfort.

Like we had, um, on all most features studio features, you have sort of a diversity and inclusion seminar type of thing that the studio sponsors. And we had one of those for this project, which you have on, again, every project has something like this nowadays, but this one was, the [00:45:00] crew was so engaged, like we, it was crazy.

We had probably like a hundred actually over a hundred percent attendance on our Zoom meeting. And people were so engaged and just so, they participated so much in a way that I think was very, Of all the projects that I've been on where people almost treat those seminars as kind of like, oh, this is a, you know, mandatory thing I have to just get done.

But this crew really cared about that and I think put a lot of that to practice in a way that was just awesome.

Julie Harris Oliver: What was your favorite memory from this production?

Miranda Pacheco: My favorite memory was not just one specific memory, but I think it was a lot of the time that me, Fiona, and Lady spent in the office just again, doing really good work, but also having a really fun time and we got along so well and I think we all were learning a lot, but there was such a just good, it [00:46:00] was a good environment and a great team and we did good work, but we also, I think grew and just enjoyed being around each other. So I loved that environment and yeah, it was very ideal.

Fiona Wiedermann: Yeah, I think there's something, I mean, overnights, shooting consistent overnights is very difficult.

Um, I, I wouldn't say like, oh yeah, do this. It's fun. Um, but I think that there's something kind of magical about the, like 2:00 AM window when like all of the normal office logistics stuff can't happen. I, you know, not for the next day. I can like schedule emails to go out. Yeah. But I'm not calling anyone.

Like, I can't really do anything other than just be, so I felt like I got to spend more time on set and see what's happening. I got to interact with more crew. Mm-hmm. . , and it just something about 2 to 3:00 AM you get. This like burst. It's the second wind. You get this burst of energy and everything is great.

And I feel like my favorite memories were those times when it was like, the stress isn't there, everything's happening how it's supposed to be happening and we're all genuinely having a good [00:47:00] time being here.

Cory Sklov: Love it. Yeah. Well I think my actual favorite memory was when we wrapped on our final day of shooting and after, after having been up for 26.

You were the whole day having haven't been up for 26 hours. , I actually established one night I stayed in a courtesy hotel and laid my head down and I had a good two and a half hours of sleep with the black out curtain. But also, I mean that was just like, cause it was so much work, it was so hard.

It was just, It was that moment of just like, wow, we, we did it. We did it. You know? And then I think we

Miranda Pacheco: wrapped early too, didn't they? Wrapped a

Cory Sklov: little early a hair and then, you know, then also just, we wrapped up really quickly. You know, these guys did such a great job of wrapping up all the documents and, you know, um, and then the next, you know, we had a pretty final cost report within two weeks of Picture wrap.

And, you know, from the production side we came in a little under budget and I was very pleased with that. And, , you know, I thought we did a great job, even in [00:48:00] spite of just lots of last minute costs coming in from certain departments. We were able to cover it and, , you know, , cleaned it up and, you know, for the first job, being in control of the cost support from day one till the end, I felt really good about the way it turned out.

Julie Harris Oliver: Good job. Good job. Okay, that brings us to our martini shot. Last shot of the day. Or last question of the podcast, , what advice would you give to someone who is trying to do what you do and trying to get into it?

Cory Sklov: Well, I'll start, I guess. , I always say, , you have to be persistent. , you know, Miranda had a good example. Sometimes people won't answer your calls. They won't, they won't read your emails and, , you know, stay, stay focused and stay on task and no job is unimportant. , and don't think that if you have a job and you're one of, you know, 50 additional back additional PAs on one day, and you're locking up a corner and that's, you know, two miles missing away from the set , you know that you're not doing something important.

Because every job on every movie set is important. And I think that [00:49:00] you know, stay with it. Always. Just always have a good attitude. Always do a good job and people will hire you and ask you to come back. It can be frustrating when you get a job. Sometimes you wanna move up quickly and you want to have access to certain people and you know, be close to the camera or whatever.

But there's so many important jobs in a movie set and everyone's job's important and just keep at it and, you know, stay with it and have a good attitude. And you know, you'll do alright.

The

Miranda Pacheco: tension between, you wanna move up quickly and the industry needs everyone to really be experienced. Yeah. You know, and to not move up too quickly.

And that's a, I think that's a hard tension. Yeah. When you know you're ambitious and you wanna do the thing and you're capable and smart and still people need to experience there's so much at stake. , and that's how you learn in production. You can't really know how to do a job until you actually do it a bunch of times, and even still, [00:50:00] you continue to learn so much, even doing the same job over and over because every project is different, production changes and has different challenges, and the industry's evolving in a different way and I feel like you're working with new people. I think that, that's an interesting question though, because I would say it's almost in production. You don't necessarily need to think about how to become a production supervisor or how to become a UPM. It's like just work opportunity to opportunity and then you'll find out what is, you're gonna do the best at and also what is the most interesting to you.

I didn't start out in the industry thinking that I wanted to be, you know, working in physical production or being a production supervisor, but that just happened naturally in a way where my jobs added up to, oh, this is something that could be interesting for me and that I could be good at.

Julie Harris Oliver: Did you think you were gonna do something different?

Miranda Pacheco: Yeah, I, well, I started it in development and then I worked actually in management. , So I had worked in many [00:51:00] different sides of the industry before coming to freelance production and it's almost like every time you think, oh, this is the job I wanna have in 10 years, then life intervenes and you end up doing totally different work then would lead you to that.

So some of it, I would say best advice is just embrace the process. Yeah. And don't put pressure on yourself to have any sort of title by any sort of timeline. Because the exciting thing about production is that you don't need to plan in that way. You can really take it opportunity to opportunity and I think that you'll actually learn more if you're just focused on, as Corey said, doing really good work in whatever position you're in.

And then once that's over, evolve onto whatever is next. I would just say enjoy the, enjoy the journey and the end will sort of manifest itself through that , process.

Julie Harris Oliver: Great advice, Fiona.

Fiona Wiedermann: You know, I would say just to give like [00:52:00] really specific advice, this is something that I'm personally working on and it's hard, but you have to ask, you have to ask people for work.

Mm-hmm. . Yeah. People don't know that you're looking for work. That's true. Mm-hmm. , they nobody, I mean, maybe someone will contact you. Miranda contacted me. It was great, great timing, but you need to put yourself out there, which can be scary. You can feel like you're bothering people, but either they'll respond or they won't, and they're never gonna just like drop jobs in your lap until you're like much more established.

Mm-hmm. , you need to keep asking, even if it's uncomfortable. You need to reach out to anyone you know, and say, Hey, do you know anyone looking for X, Y, Z? Whether it's like a day playing job or like, I have worked subbing in for people on vacation like a bunch recently, and that's been a really great way to just expand my circle, expand who I'm meeting, and like different production environments.

You just gotta keep putting yourself out there.

Cory Sklov: It all takes is for that one person to be like, oh wait, , Nick emailed me the other day and I know someone's looking for a boom. You know? And it's just, that's, that's actually really good advice. [00:53:00]

Julie Harris Oliver: I also wanted to ask you, and I have no idea how old you are, but you were talking about how this is job where you were on the phone, having to call people all the time, and I think a whole, there's a whole generation coming up who just texts doesn't like to answer the phone, doesn't like to talk on the phone, talk about that necessary skill.

Fiona Wiedermann: Yeah. I think growing up I was on the phone a lot and then I feel like I grew up with like, you have three texts, they're for emergencies. You can't really text. So it was always phone calls, . , I know we're not in that world anymore, but that's kind of where my mindset

Julie Harris Oliver: is up with unlimited data. I know,

Fiona Wiedermann: but honestly calling is so ,much faster.

I want everyone to go back to calling. It's much more efficient. Mm-hmm. , we're all driving here. It's much safer to call. Mm-hmm. , like make the phone call. You can catch someone anywhere, even if they're like stepped away from your desk for a second. You will get that answer so much faster and you will get to just keep going on.

You'll get to move forward. You won't be sitting, waiting, anxious for an email that like may or may not come.

Cory Sklov: Plus you can ex, explain. I don't know. For me personally, I do such a better job of communicating what it [00:54:00] is I am after when I talk to somebody as opposed to trying to write a very succinct and, , you

Miranda Pacheco: know, , there's a human element to phone calls that.

Right. Cause you can counsel. It's very important in our business, especially with vendors, because you're not just building a relationship with them for one project. Those are people that you're probably gonna be going back to many times. Especially in the office as you, you know, do features moving forward.

So yeah, it's really great and it comes in handy a lot because then you can ask for favors from those people if they know you and have a connection with you. Yeah.

Julie Harris Oliver: Okay, so our takeaway is use the phone.

Fiona Wiedermann: Yeah, use the phone. Use the phone because you make a real connection. I can email someone for months and then that first phone call, you're like, oh, you're the person I've been emailing, like, hello, how's it going?

And like you can finally put that voice to the text, which is really important because you can't. As much as you try, you can't convey everything in text. You can't always tell the tone of voice. You can't. I mean, there are a lot of things that you miss. You miss the nuance and you connect [00:55:00] more like honestly.

And I feel like you get like a much stronger connection. You can hold onto it for longer if you really talk to each other.

Julie Harris Oliver: That's a wrap you guys. Thank you so much, Fiona. Corey, Miranda.

Fiona Wiedermann: Thank you. It was fun.

Miranda Pacheco: Thanks for having us.

Julie Harris Oliver: This has been Catch A Break, Project Greenlight edition. I'm Julie Harris Oliver.

I'd like to thank our guests, Corey Sklov, Miranda Pacheco and Fiona Wiedermann, and special thanks, crewvie.com, a dynamic platform that connects people to productions worldwide. Please check out our website at catch a break podcast.com and follow us on all the social media. Catch A Break is produced in partnership with CatchLight Studios and the other 50%.

Our theme music mantra for a struggling artist was composed by Andrew Jocelyn. Thanks for listening, and be sure to go watch Project Greenlight and then come check us out for the behind the scenes of the behind the scenes. Next up we talk with Rhonda O'Neil, the Hairstylist and Rahima Yoba, the wardrobe designer.

Let me just say it is a [00:56:00] miracle that even took this job considering the phone call from the UPM seems so suspicious, which now that you've heard Corey, I think it's even funnier. In the meantime, I hope this helps you to catch a break.