February 28, 2025 • 41 mins
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:04):
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Hello film friends, friends of film and everyone in between.
Welcome to the Film Folklore Podcast.
I am Jed Props and I am joined today by
Heather Rae Costumes.
Hello.
Chris A.D.
Hello.
And Justin Sound.
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Hi.
And guess what we got today?
It's our first mailbag.
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It's our first mailbag.
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It's our first mailbag.
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It's our first mailbag.
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It's our first mailbag.
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It's our first mailbag.
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It's our first mailbag.
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It's our first mailbag.
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It's our first mailbag.
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It's our first mailbag.
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It's our first mailbag.
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It's our first mailbag.
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It's our first mailbag.
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It's our first mailbag.
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It's our first mailbag.
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It's our first mailbag.
So next question.
So I guess, so this is from at the Clumsy Cookery.
(07:58):
What happens to all the props after a show?
Heather could also say this too, as far as like how we rap.
So some things, there's featured items,
we refer to them as hero.
It doesn't matter if it's for a villain character.
We just call them hero items.
And so the hero props get cataloged and photographed
(08:26):
and inventoried.
And they go into containers.
And all of this goes into a storage.
I mean, basically picture the end of Raiders of the Lost
Ark.
Right, exactly.
When it goes into that storage unit, never to be seen again.
Exactly.
Theoretically, they're holding onto those things
in case of reshoots or maybe sequels
(08:47):
or whatever the case may be.
And then a lot of times, when something errors or something
goes out to theaters, that storage is now freed up.
And I've definitely been hired a couple of times
to go empty out storages.
And they're usually saying like donate what you can
(09:08):
or maybe look for such and such item
and they want it shipped out to some producer or whatever.
And I mean, I think maybe part of this question
is maybe speaking to if it's something really cool.
And if it is something really cool, I'll never see it.
It'll always go to a producer, a director, somebody like that.
(09:28):
Those are great because you'll be on a show
and you're doing what I was saying earlier, where you're
putting your rap stuff together.
And you'll get maybe a producer going like, oh, I'll
take that with me on the plane.
And you're like, but what?
Oh, I know why.
Never to be seen again.
But they say it like they're doing me a favor
(09:49):
when I'm just putting things in these containers to go.
I was like, it doesn't make a difference to me.
But I mean, costumes is similar, right?
Yeah, it's similar.
I mean, sometimes we have a sale at the end.
Yeah, we do.
We do sometimes.
But I mean, we wrap everything, we inventory it,
and you know, Raiders of the Lost Ark it.
And then there's rentals that go back.
(10:11):
There are rentals that go back for sure.
And we donate stuff as well.
I mean, if there's anything that's just being,
I mean, the waste is crazy, honestly.
So if there's anything that can be,
I'll drop it under the bridge to the unhoused.
If there's underwear, socks, or warm things, coats, blankets,
(10:34):
anything like that, towels, anything like that,
that's just going to be tossed or donated to Goodwill,
which is just going to mark it up.
I mean, I'd rather just give it to the people that need it.
So that's what I try to do with anything that, you know.
You bring up an interesting thing too,
because you just made me think of food.
I wish there were better ways for it,
(10:56):
because I'm thinking about getting rid of things.
And I'm thinking about props.
But there's all these rules and regulations.
And they are for good reason that I
can't take food from a film set, that maybe we had a food scene.
And maybe there's a cake that we didn't use for the scene,
but the cake is basically just a cake on a plate.
That just ends up a crafty.
(11:17):
Well, even if I wanted to take it to homeless or something
like that, they can't accept it, because everything
has to come packaged and proven.
And I get the whys and all that.
But catering, I mean, there's so much food waste.
I don't know.
I wish there were ways that we could better use it.
One of the many things that I did over, I mean, people will take it.
I mean, I took a bunch of stuff from a lot.
On the street.
(11:37):
No, no, no.
I actually took, I did one of the many hustle jobs
that I've been doing.
We've had this lovely downtime in film.
Lots of time to reflect on decisions that you've made.
I set up a Super Bowl party.
And it was very excessive.
A bunch of rich people in the French Quarter
just left a bunch of stuff.
And I, anything, it was catered.
(12:01):
They ordered out and they had boxed food and stuff like that.
And anything that wasn't touched, I brought to the Covenant House.
Because the first day when I wasn't there,
they said they threw out two garbage bags full of food.
And I was like, oh, no, no.
That's not happening again.
Yeah, so I mean, you can call and ask.
Yeah, you can always call and ask.
(12:22):
I didn't know if they'd take it either for that reason.
Yeah.
You just got me thinking about it.
There's so much waste.
So much waste.
So much waste.
The next thing is not even a question,
but I included it just because I thought
it was so random and funny.
We had a message with no person.
It was just anonymous, whatever.
And it just said, I love Zoe.
So I'm assuming it's somebody we might know or something like that.
(12:46):
It was me.
To make a message so short and simple.
But we love Zoe, too.
It was Ross.
You're not alone.
It was Ross.
Yeah, that's right, Ross.
But I mean, who doesn't love the czar of kitty cats?
Yes.
You know what I mean?
I mean, I don't know.
The kitty cat czar?
Yeah.
Her tie is here.
The pussy czar?
Straight, short little question.
Is that where we're going with it?
If you want to.
I mean, the grab the pussies?
(13:08):
Wait.
Oh, wait.
OK.
Wait, did you say China?
So next question is from Donna.
Do you have a, and I guess it's an open question,
do you do any of, there you go.
Do any of you have a favorite show you've ever worked on?
(13:30):
One of the, actually, I'm going to bring back
Casey Silver, which I just talked about.
And that was the Highwaymen was a show that was very difficult.
Yeah.
We came up some serious weather.
And most people, like most, I mean,
it was just set up in a way where everybody was like,
(13:53):
instead of being like, oh, this fucking sucks.
This is the worst.
Oh my god.
And people are like, wow, ain't this some shit?
OK, let's do this.
Because we were getting what we needed.
And we were being treated with respect.
And that's all it takes.
Oh, yeah.
A little side note to any producers listening to this.
It takes very little to make us happy,
(14:13):
because we're so used to being shit all the time.
You really do catch more flies with honey.
Yeah, for sure.
It's amazing.
100%.
What about you all?
No.
I mean, dude, and Jed can speak to this.
I mean, it probably has to be NCIS New Orleans, because.
(14:37):
It was a well-oiled machine.
It was a well-oiled machine.
They really did take care of you.
Oh, yeah, definitely.
The family environment.
I think everybody gained weight on that show.
Everybody got fatter, for sure.
It was the best crafty I'd ever seen when I was day
playing for that show.
It was the best crafty ever.
Oh, my god.
So I mean, that was.
They had a certain.
I mean, like, apologies to everybody
(14:59):
that was let go on that show.
But I mean, like, there was a lot of nice people.
And it just seemed to be like, OK, cool.
We're in this for 10 months, y'all.
So let's just be nice.
Be cool.
Yeah.
Let's just be cool.
Well, I mean, I think that to that point, though,
anything that I've ever worked on, like my favorite shows
as opposed to the ones that I can suck a dick.
(15:22):
Yeah.
Underground season one.
I can always say that.
It's the people that you're working with.
Yeah.
100%.
And it's all about the people.
It definitely makes a difference.
And if it's not, you're in the wrong business, really.
So you know.
The hard thing about an NCIS New Orleans
is because it's very quintessential procedural,
the repetition gets to me after a while.
Yeah.
Yeah.
(15:42):
Where, and here's Chris and I can joke for a second.
It's like, I know you want a clipboard,
but who gets the clipboard?
You know?
Like, every, we started joking that the C stands for clipboard.
Because it's just like the most quintessential prop stereotype.
Oh, the C and the NCIS.
(16:02):
Yeah, yeah.
But you know, like, NCIS actually
is a perfect example of this, where in the real world,
here in modern day, everyone's switching to tablets, iPads,
things like that.
But in theatrically, we still like
to have folders with hard paperwork and clipboards
with paperwork on it and everything,
(16:23):
which is becoming obsolete in reality.
But there's something theatrical about it
that there's still this preference for it.
And I would always say, like, I mean,
I joke with my boss on NCIS that I'd be like,
when do these people have time to put these folders together
to even make these files?
Because they're always out in the field,
(16:44):
and there's clearly no helpers at this place.
So who's putting these files together?
And then he'd be like, shut up.
Stop thinking.
But yeah, there's a lot of repetition
to those kind of shows because they're so formulaic
and everything.
And just for me personally.
Even day playing on those shows, I mean, like, as costumes,
(17:04):
it was like polos and khakis and uniforms.
Right, right.
Yeah.
But it usually would be like, so as the second second,
or I'm here to normalize third AD in America.
Trailblazer.
It would be my job to go set up the crime scene stuff
and do the stuff for the background.
(17:24):
And I'm going and I'm asking Jed for the props.
And so they like props.
You guys had like some really cool stuff, right?
You know what I mean?
That would be like this intricate thing
or this latest tech and like crime scene, whatever it was.
And they'd be like, OK, Chris, you have 30 seconds
(17:47):
to go make this scene.
With 50 people.
And then I've got to go put 50 people in there in 30 seconds.
And so there was often times where it was just kind of like,
man, shit, I don't have time to do the cool thing.
But I know this one jabroni can stand over
in the corner with a clipboard.
And I know a lot of these jabroni
(18:09):
will at least be able to do something with a clipboard.
And so that was really where it came from.
And thank you for using the word jabroni.
I've been trying to bring that one back.
It's a great word.
It's so great.
You also just reminded me of something too
from some of the BG on that because we had a lot of repeat
background.
And a lot of repeat offenders.
(18:32):
There's some people who are former police
and former security types.
And they would be sure to tell you.
Oh, well, that's the thing.
On more than one occasion, while I'm propping out police,
let's say, and I'm taking the radio mic
and I'm going under the arm and I'm
clipping it up on the applet or whatever you call it.
(18:54):
And then a guy would go, no, no, no, they go on the right.
And then I would stop and go, well,
they go wherever the person using them technically
would be most comfortable with them if we
want to be really technical.
But for the purpose of background,
you don't want to make things too different because it
(19:15):
becomes a distraction.
So you want things to be cookie cutter in procedural world
and everything.
So thank you for the advice, sir.
I'm glad that we had this educational talk.
And then he's like, well, I was a cop for 10 years.
I'm like, OK, that's all tracking.
Thank you.
And why are you not on the force, sir?
What are you doing here for 80 bucks a day?
When's that happening?
You said had.
(19:35):
And yeah, and you're here for peanuts, actually.
You want to buy some PCP?
Wait, are you talking about boat?
I am.
But yeah, there's a convenience about them.
And then there's also just the repetition kind of thing.
(19:57):
I don't know.
Justin, do you have a favorite project?
Ooh.
Yeah, I mean, I guess I like the challenging ones as well.
So I mean, I guess probably One Night Miami
was one of the hardest ones, but also really rewarding
from a sound perspective.
So yeah, that was a lot of fun.
(20:20):
I always say Daddy's Home because it really was like,
I don't know if I've said it on air or not,
but it was like Club Med for props.
Every single thing that you kind of have marked out
on the schedule is like a to do kind of thing.
And the example that, and shout out to Twig,
(20:40):
but the example that Twig and I probably
have talked the most about is it was supposed to be a taco
night at the family house.
And we are coming prepared to do tacos six ways from Sunday.
So we're rolling out a cart that's got like every
conceivable ingredient and all these various ways
(21:01):
we can be doing it, where are they
going to be at in the prepping of it,
because they're having a conversation while it's going on.
And it's Linda Cardellini and Will Ferrell,
and they're about to do the rehearsal.
And as they're talking with the director,
Will goes, I could just grab the box of taco shells
from the cabinet.
And then Linda goes, I can just be great and some cheese.
(21:21):
And then the director goes, yeah, it's not about the food
guys, it's about the conversation.
We're like, what is happening right now?
Like, this never happens.
Normally, it's the absolute opposite,
where it's just like, wait, they'll
ask for the one item that somehow you didn't have.
Like, whoa, whoa, whoa, whoa, why do you not
have butter lettuce?
This is iceberg.
It'll be something like that.
(21:43):
Well, and sometimes it's the actors that make it great too.
Yeah, yeah.
I mean, when I did Keanu.
Which looked like a lot of fun.
Oh my god.
It was a blast.
It was a blast on screen, and it was a blast off screen,
because it was like a family.
Well, in the comedies, usually comedies
do well, because you want to have a good atmosphere.
(22:04):
It was so much fun.
I mean, we would party like crazy.
That's fun.
Yeah, it was a lot of fun.
You got Tiffany Haddish.
Well, I went to see Magic Mike with Tiffany Haddish,
and the director also came.
And so I'm in between the two of them.
And seeing Magic Mike with Tiffany Haddish, best
experience of ever.
(22:25):
It was so much fun.
That sounds awesome.
Yeah, I mean, I actually.
That should have been live streamed.
That sounds fun.
Oh my god.
It was amazing.
I ended up taking Gegan up and his brother on 4th of July
to see Big Sam's Funky Nation.
And we ended up at Big Daddy's at one point,
and ended up at Waffle House at 6 o'clock in the morning.
(22:48):
I mean, Big Daddy's is not a strip club.
Is it not?
No, it's not.
It's the one across from what used to be Mee Mee's.
Yeah.
It's a shady little dive bar.
It's a very shady dive bar.
What am I thinking about from Bourbon Street?
And I have seen the sun, like walked out and seen the sun up
from that place more kit times than I can remember.
(23:10):
And that was one of them, actually.
So yeah, I mean, it was just fun.
We just had a blast.
Everybody was so cool.
And yeah.
Can confirm, however, there was a strip club
on Bourbon Street called Big Daddy's in the 90s.
OK, yeah.
Yeah.
Yeah.
I'm not completely crazy.
I went there with my fake ID.
We know where you're going.
When I was 15 years old and I had braces.
(23:31):
It was great.
Nice.
Nice.
Make lovin'.
So this is now we're really getting in the weeds,
and this is going to be a long time.
But I had a buddy whose name was Pier Boss.
Shout out, Pier.
And Pier, so this is 1994 technology.
(23:56):
Pier made these California IDs for us,
and we're from San Diego.
And being dumb boys from New Orleans,
he put La Jolla on there, right?
Like we lived on 12345 La Jolla Avenue.
But you said La Jolla, didn't you?
We sure fucking did.
Yeah, you did.
Because I didn't take Spanish.
(24:18):
And so we go.
That's near to Junga, right?
I will never forget.
I give this fake ID that was made on a 1994 computer,
and I give it to the bouncer at Big Daddy's.
And he goes, he's like, oh, San Diego, you boys in the Navy?
(24:39):
And we go, yes, that is right.
We are in the Navy, clearly.
And we're definitely stationed in San Diego.
And he's like, uh-huh, probably submarine warfare, huh?
And I go, yes.
I control.
You, sir, are very astute.
(24:59):
I control the button that does or does not
fire the nuclear missiles on our nuclear submarine.
It was the braces that gave you the time.
I must have that look.
Yeah, and I have braces.
That chiseled jaw.
I am 15, and I looked 12, even though I was 15.
(25:21):
Same height I am now, only about 110 pounds.
I mean, you kind of look like 15 now.
Well, I don't know.
It's a compliment.
Yeah, I know.
You're looking great.
Oh, thanks.
Looking good, Chris.
But he goes to me.
So after all of this, where he's just clearly fucking with us,
he goes, he goes, he goes, he goes, he goes, what, boys,
what's your address again?
(25:42):
And we go, 12345 La Jolla.
And he goes, it's pronounced La Jolla,
as he hands the IDs back to us.
But he's welcoming us in.
And he goes, have a good time, boys.
And then we go in.
And then literally almost immediately,
we were essentially just robbed by strippers.
(26:06):
And we had our $20 allowance.
You know what I mean?
And like, they probably spent blood in the water.
You were in there for three seconds.
They literally just, they're like, take your money out.
And we're like, OK.
And they're like, do you want to see boobs?
We're like, more than anything in the world.
They're like, give me $20.
That's my whole allowance.
They take the $20, and they're like, OK, great.
(26:26):
I think you've had enough.
And we're like, oh, this is great.
And that was my, so Big Daddy's existed.
I know Big Daddy's only because when I first moved here.
Only because.
Well, that's why I was like, I know.
I was like, I'm not crazy.
This place exists.
Long short is friends that I had made through school
(26:48):
that while we were down here, we're in a big group.
And somebody's relative, I don't remember now,
it was not Big Daddy, but it was someone that worked there.
So it was under the guise of we can go and get free drinks.
And most of us aren't 21.
And so it was like, OK, great.
(27:08):
So I had a fake ID that I got when I was 16
that I had a hemp necklace on with a little glass mushroom
thing.
Perfect.
You mean like this?
Yeah.
Exactly like that.
Very standard for a 23-year-old at the time.
(27:30):
But what I remember about that is some of the people
in our group had disappeared.
And I was like, wait, where did So-So go?
And they're like, oh, I think they went outside
because they were tripping acid.
And I was like, I'm sorry, wait, what?
I was like, they came to a strip club on acid.
(27:52):
And they're like, yeah, I know, idiots, right?
And so I was like, OK, so now I'm fucked the strip club.
I want to find them.
I feel like there are worse places to do that.
It's true.
Family reunion.
Magnolia projects.
When they were still around.
Yeah, sure.
But I went outside, and there were three in a row.
(28:15):
All three guys are just sitting on the curb
outside of the strip club.
And they're just so stuck in their little world.
And they're all staring down at the same spot,
probably talking about something of great significance
on the ground.
Of course.
They were just seeing boobs in the concrete.
There's like 16 boobs in this concrete.
There's so many boobs.
(28:35):
But that's my big daddy.
Yeah.
Dude, it had the legs that came out.
Oh, is that it?
Yeah, yeah, yeah.
Isn't that Rick's cabaret now?
I don't know.
Sure.
But I don't know.
The only reason why I know that.
No, I'm just kidding.
No, I do know.
I do remember the legs.
And y'all been listening to Strip Club Corner.
(28:56):
And wow, we went off on a real tangent there.
That was a tangent.
So let's see.
Getting us back on track.
Just shaking his head at us.
The next question I'm going to read on here.
Let's do, oh, let's, well, kind of sort of going back to NCIS
a bit, but in general.
Do you guys really eat a lot of good food on sets,
(29:18):
ask Quincy.
Should we talk about craft service or catering or both?
I mean, we could, yeah, both.
Why not?
We eat like hobbits.
Like, I mean, essentially, it's like you've
eaten a breakfast that's way more than you would ever
eat at your own home.
Oh, yeah, for sure.
Where it's like you went and had a custom omelet
made for you while you're also getting like.
Stuff off the line.
(29:39):
Right, right.
And bacon.
Yeah.
And like a juice.
Yeah.
And like coffee.
Yeah, and then you go to the truck.
You're like, I'm going to need some huevos rancheros as well.
And then I feel like less than two hours later,
there's second breakfast, AKA a snack.
And the snack is like, NCIS was the worst,
because it'd be like, snack is like jambalaya.
(30:00):
And it's like, no, this is a meal.
It was a meal.
Yeah.
This isn't a snack.
Who was the gator on that?
Was it Gator?
No, no, no, no, it was Mike.
Yeah, no, shout out to Mike.
We should get him on.
He would be a good craft service rep.
But yeah, I mean, I think it's how, at least the guys,
it's how we get our shape, where it's like everyone's
(30:21):
broad-shouldered and fat-legged with bellies.
I mean, because we heavy lift, and then we eat like 400 pounds
of food every day.
So.
Yeah.
Well, I mean, it also depends on the show.
I mean, there have been many shows where I'm like,
this is like a 10-year-old boy's wet dream,
this craft service, right now.
Oh, yeah.
It's just all sugar and crap and chips and sodas.
(30:43):
Pizza.
You know?
Yeah.
Oh, and then you'll go to like, oh, that's the best or worst,
actually.
But it's like, you're on one show, and it's awesome.
And then you leave the next, you know,
and go to your next job, where maybe it's
a completely different budget, completely different group,
and everything.
And maybe that show sucks.
And so you find yourself in this spoiled world, going like,
(31:05):
what do you mean there's no second breakfast?
What, I got to eat these peanuts?
You know, like, oh, come on.
And then you think about how over the pit you are.
Well, also, like, having to buy groceries now
that we're not working, it's like, what?
Oh, yeah.
Although, I mean, I will say that if I'm actually
giving a shit about my health, which comes and goes,
but I will meal prep and not eat all the stuff on set.
(31:28):
Because it is, as you said, a very easy way
to pack on the pounds.
Because you're sitting around a lot, too.
There's a lot of inactivity.
I mean, there's like spurts of major activity.
But you're sitting around a lot.
Have you all ever been on a show where a security guard did not
have six to-go boxes that they have put together?
Never.
Never, never, ever.
(31:48):
It's a requirement.
It's always a security guard.
Part of the job.
I don't know why.
But like, I will say that one of the best indicators
of what the budget of the show is
is by how good the food is.
That's true.
And if the food is really good, that show's got a lot of money.
And there's a big budget.
(32:08):
And if the food sucks, there is not a lot of money on that show.
Although, I've worked on shows that have the money
and are just not cheap.
Yeah, it happens.
Yeah.
So it comes and goes.
Sometimes we do have good food, and sometimes it's garbage.
There's also a couple of not-so-great caterers.
(32:29):
There's that, too.
That's true.
And usually, things have to be really busy for them to crop up.
So not an issue right now.
Not an issue right now.
Yeah.
A veritable pick of the litter.
Have you all ever heard this before?
Any Canadian listener can confirm, hopefully.
But I heard that in Canada on longer shows,
(32:51):
like maybe a TV series or something,
that they switch caterers out halfway through to keep things
kind of fresh.
No offense to the first caterer, but it's just a way
to kind of keep the repetition from getting full.
I mean, it does kind of get old.
Which is kind of like the idea.
That's a good idea.
That is a good idea.
Our last real question that I'm going to read here,
the question is, who gets to be in charge
(33:11):
when there's crossover between departments, asks
at PitneyNY1223?
And I think, if I'm following this correctly,
it's not that someone takes point, necessarily,
as much as it's a team effort.
Yeah, I mean, ideally, there's some collaboration.
But your collective boss would still be your boss.
(33:34):
Like, if I had crossover set deck,
the production designer is still our boss.
I think it would be of that nature,
if I'm following that correctly.
But we have a ton of crossover.
Yeah, I mean, it's kind of a, it's not
a very specific question.
(33:54):
I get where you're going with it.
I'm trying to answer it the best way I can.
If you and I had crossover.
Right, which we do a lot, like with bags and purses
and things like that.
In that situation, a costume designer
trumps a prop master, typically.
So if there was someone who wanted
to have a trumping opinion, I guess
you could put it in a hierarchy like that.
But it depends on what the question is, though, too.
(34:15):
What the issue is, I feel.
Yeah, because if I'm crossing over with you guys,
it's more about some technical issues, right?
Yeah.
You're usually wanting us to be quiet.
Well, as a costume designer would sound, though, too.
Like you and I would wear very.
Noisy shoes.
Yeah.
Yeah, like high shoes.
Or just like where it goes and what, you know.
(34:38):
I mean, ideally, everybody's happy.
If they sound good, they look good.
Yeah, it's rare that we have to go to the person in charge.
Yeah, no, that's an on the fly with the sound,
you know, the utility person usually, right?
Yeah.
Wires and then, you know, whatever
costumer is taking care of that actor that's being wired.
(34:59):
So.
Is it true that costumes, technically,
can veto a look in hair and makeup?
Is that true?
Again, I think hair and makeup usually gets their way.
But I mean, I feel like ideally, again, there
(35:20):
is a collaboration and they build a look together.
Because, you know, I mean, clothes make a big difference
and hair makes a big difference.
And if they're not telling the same story,
then somebody's doing something wrong.
Right.
You know what I mean?
So hopefully, ideally, there will be give and take.
And sometimes there is the director
that will interject if necessary, too.
(35:43):
You know what I mean?
So are you telling me that Jed's hemp necklace that he
had when he was 23 that tells a specific story?
Oh, yeah.
About how I was truly 23.
Especially with the glass mushroom.
And not 16 at all.
Yes, it definitely tells a story.
It was not 1995.
(36:04):
Nice.
I can think of like a props, costumes example.
Because a lot of times, because a question that we do get a lot
is where the lines are between props and costumes,
where we do have a lot of gray area.
And the way I usually explain it is
does the item transcend costumes?
(36:27):
If you think of a school backpack,
but you can wear multiple outfits.
So it's going across several costumes.
So that's typically what keeps it a prop.
But at the same time, purses are usually on costumes.
Exactly.
Because that's usually matching to a specific look.
And with that said, this is where
you can get into the costume designer having
(36:49):
an opinion that would trump.
So we do sunglasses, for example.
Because the sunglasses, you would normally say,
could go across several outfits.
But if a costume designer likes a specific pair
on a specific actor with a specific look,
then that's where they're putting their two cents
in and say, I would like to have this for this look.
(37:09):
And that's where it's sort of, we're still
wrangling it typically.
But it's been decided by costumes
to go in with a specific look.
And usually, jewelry is also a weird thing.
You guys do watches and wedding rings.
Because they cross over.
Because they cross over.
Right.
But earrings and necklaces, unless the necklace is a prop.
(37:31):
Right.
Because it could be.
So it just depends what the necessity is.
It depends on the item, on the scenario, on the show,
on the director, on the designers.
Like, yeah, it all depends.
But there is crossover.
Collaborative, I guess, would be the way to answer the question.
(37:53):
Correct.
Ideally, collaborative nature is ideal.
I think maybe the question assumes that there's
some sort of dispute, though.
Ooh.
Well, again, I think that sometimes,
if we're talking about props and costumes, for instance,
(38:14):
it rarely comes.
I mean, it does sometimes happen.
But it really comes to fisticuffs about a frigging
backpack or something.
You know?
Do you guys think that the decision between the emerald
necklace and Titanic, it was between that or Jed's?
(38:35):
It was a diamond.
It was a blue diamond, by the way.
Was it?
Yes.
All right.
It was a precious stone.
But that's a blue diamond?
That's very pretty.
I'm trying to remember right now.
The company that sells nuts?
Now we're talking about.
Like Smokehouse?
Yes, yes.
Blue Diamond.
If you're lucky, that's like your Cracker Jack
prize at the bottom of the bag.
Which, staple at craft service.
(38:56):
Blue Diamond.
That's Lou Diamond Phillips.
Blue Diamond Phillips?
Yeah, that's his nut company.
Shout out Lou.
Shout out Blue Lou.
And your nuts.
And his nuts.
World famous.
Yeah.
I just remembered there was an alternate ending
to Titanic we didn't talk about.
(39:17):
But oh well.
Spoiler, it was not the one they used for a reason.
It was terrible.
So that's the last of the legit questions that I have on here.
I included one sort of goofy question.
Because throwback to when we had our dialect coach on,
(39:40):
I got tripped up in the episode because they
started talking about transatlantic accents.
And I think in the episode I said,
wait, what's a transatlantic accent?
And everyone's kind of collectively doing the like,
yeah, what do you say?
And then I don't know why I had the brain fart.
But later one of my friends who has
listened to some of the podcast, he was like,
(40:00):
how could you possibly not know what a transatlantic accent is?
And I was like, I did know what it was.
I don't know why I spaced out.
So I'm accepting that I'm calling myself out
that I totally had a brain fart.
And yes, I do know what it is.
But that's to my friend John, who was calling me a dumb dumb.
So that said, this is our first mailbag.
(40:23):
And I think that was not terrible.
And I went off on a few tangents.
Hey, you know what?
If there's a time for tangents, it is.
It's mailbag time.
Yeah, or pretty much every episode we do.
Yeah, yeah, yeah.
So I'm just going to close out saying thank you, everyone.
Please keep them coming.
The more you send us, the more often
(40:44):
we can do these fun little sides.
Then you can also be the cool guy at work
come Monday when you can brag that you
are acknowledged on a podcast.
Endless perks, everyone.
Anyway, we really appreciate it.
So let's get out of here.
And this is where Zoe does her thing in three, two, one,
and Zoe.
Do you like what we're doing here?
Do you have thoughts, comments, questions?
(41:07):
Maybe you have an idea or suggestion for topics
you want to hear about.
Well, you can find us on the intrawebs.
You can email us at filmfolklorepodcast at gmail.com.
You can find us on the social medias, Instagram,
the Film Folklore Podcast.
We have a Facebook group called Film Folklore, Twitter,
(41:28):
X, whatever you want to call it, at the Film Folk.
And yeah, thanks for joining us today.
Sweet.
Thanks, everybody.
O
O
O
Hello film friends, friends of film and everyone in between.
Welcome to the Film Folklore Podcast.
I am Jed Props and I am joined today by
Heather Rae Costumes.
Hello.
Chris A.D.
Hello.
And Justin Sound.
(00:25):
Hi.
And guess what we got today?
It's our first mailbag.
(00:57):
It's our first mailbag.
(01:26):
It's our first mailbag.
(01:55):
It's our first mailbag.
(02:24):
It's our first mailbag.
(02:53):
It's our first mailbag.
(03:22):
It's our first mailbag.
(03:51):
It's our first mailbag.
(04:20):
It's our first mailbag.
(04:49):
It's our first mailbag.
(05:18):
It's our first mailbag.
(05:47):
It's our first mailbag.
(06:16):
It's our first mailbag.
(06:45):
It's our first mailbag.
(07:07):
It's our first mailbag.
(07:34):
It's our first mailbag.
So next question.
So I guess, so this is from at the Clumsy Cookery.
(07:58):
What happens to all the props after a show?
Heather could also say this too, as far as like how we rap.
So some things, there's featured items,
we refer to them as hero.
It doesn't matter if it's for a villain character.
We just call them hero items.
And so the hero props get cataloged and photographed
(08:26):
and inventoried.
And they go into containers.
And all of this goes into a storage.
I mean, basically picture the end of Raiders of the Lost
Ark.
Right, exactly.
When it goes into that storage unit, never to be seen again.
Exactly.
Theoretically, they're holding onto those things
in case of reshoots or maybe sequels
(08:47):
or whatever the case may be.
And then a lot of times, when something errors or something
goes out to theaters, that storage is now freed up.
And I've definitely been hired a couple of times
to go empty out storages.
And they're usually saying like donate what you can
(09:08):
or maybe look for such and such item
and they want it shipped out to some producer or whatever.
And I mean, I think maybe part of this question
is maybe speaking to if it's something really cool.
And if it is something really cool, I'll never see it.
It'll always go to a producer, a director, somebody like that.
(09:28):
Those are great because you'll be on a show
and you're doing what I was saying earlier, where you're
putting your rap stuff together.
And you'll get maybe a producer going like, oh, I'll
take that with me on the plane.
And you're like, but what?
Oh, I know why.
Never to be seen again.
But they say it like they're doing me a favor
(09:49):
when I'm just putting things in these containers to go.
I was like, it doesn't make a difference to me.
But I mean, costumes is similar, right?
Yeah, it's similar.
I mean, sometimes we have a sale at the end.
Yeah, we do.
We do sometimes.
But I mean, we wrap everything, we inventory it,
and you know, Raiders of the Lost Ark it.
And then there's rentals that go back.
(10:11):
There are rentals that go back for sure.
And we donate stuff as well.
I mean, if there's anything that's just being,
I mean, the waste is crazy, honestly.
So if there's anything that can be,
I'll drop it under the bridge to the unhoused.
If there's underwear, socks, or warm things, coats, blankets,
(10:34):
anything like that, towels, anything like that,
that's just going to be tossed or donated to Goodwill,
which is just going to mark it up.
I mean, I'd rather just give it to the people that need it.
So that's what I try to do with anything that, you know.
You bring up an interesting thing too,
because you just made me think of food.
I wish there were better ways for it,
(10:56):
because I'm thinking about getting rid of things.
And I'm thinking about props.
But there's all these rules and regulations.
And they are for good reason that I
can't take food from a film set, that maybe we had a food scene.
And maybe there's a cake that we didn't use for the scene,
but the cake is basically just a cake on a plate.
That just ends up a crafty.
(11:17):
Well, even if I wanted to take it to homeless or something
like that, they can't accept it, because everything
has to come packaged and proven.
And I get the whys and all that.
But catering, I mean, there's so much food waste.
I don't know.
I wish there were ways that we could better use it.
One of the many things that I did over, I mean, people will take it.
I mean, I took a bunch of stuff from a lot.
On the street.
(11:37):
No, no, no.
I actually took, I did one of the many hustle jobs
that I've been doing.
We've had this lovely downtime in film.
Lots of time to reflect on decisions that you've made.
I set up a Super Bowl party.
And it was very excessive.
A bunch of rich people in the French Quarter
just left a bunch of stuff.
And I, anything, it was catered.
(12:01):
They ordered out and they had boxed food and stuff like that.
And anything that wasn't touched, I brought to the Covenant House.
Because the first day when I wasn't there,
they said they threw out two garbage bags full of food.
And I was like, oh, no, no.
That's not happening again.
Yeah, so I mean, you can call and ask.
Yeah, you can always call and ask.
(12:22):
I didn't know if they'd take it either for that reason.
Yeah.
You just got me thinking about it.
There's so much waste.
So much waste.
So much waste.
The next thing is not even a question,
but I included it just because I thought
it was so random and funny.
We had a message with no person.
It was just anonymous, whatever.
And it just said, I love Zoe.
So I'm assuming it's somebody we might know or something like that.
(12:46):
It was me.
To make a message so short and simple.
But we love Zoe, too.
It was Ross.
You're not alone.
It was Ross.
Yeah, that's right, Ross.
But I mean, who doesn't love the czar of kitty cats?
Yes.
You know what I mean?
I mean, I don't know.
The kitty cat czar?
Yeah.
Her tie is here.
The pussy czar?
Straight, short little question.
Is that where we're going with it?
If you want to.
I mean, the grab the pussies?
(13:08):
Wait.
Oh, wait.
OK.
Wait, did you say China?
So next question is from Donna.
Do you have a, and I guess it's an open question,
do you do any of, there you go.
Do any of you have a favorite show you've ever worked on?
(13:30):
One of the, actually, I'm going to bring back
Casey Silver, which I just talked about.
And that was the Highwaymen was a show that was very difficult.
Yeah.
We came up some serious weather.
And most people, like most, I mean,
it was just set up in a way where everybody was like,
(13:53):
instead of being like, oh, this fucking sucks.
This is the worst.
Oh my god.
And people are like, wow, ain't this some shit?
OK, let's do this.
Because we were getting what we needed.
And we were being treated with respect.
And that's all it takes.
Oh, yeah.
A little side note to any producers listening to this.
It takes very little to make us happy,
(14:13):
because we're so used to being shit all the time.
You really do catch more flies with honey.
Yeah, for sure.
It's amazing.
100%.
What about you all?
No.
I mean, dude, and Jed can speak to this.
I mean, it probably has to be NCIS New Orleans, because.
(14:37):
It was a well-oiled machine.
It was a well-oiled machine.
They really did take care of you.
Oh, yeah, definitely.
The family environment.
I think everybody gained weight on that show.
Everybody got fatter, for sure.
It was the best crafty I'd ever seen when I was day
playing for that show.
It was the best crafty ever.
Oh, my god.
So I mean, that was.
They had a certain.
I mean, like, apologies to everybody
(14:59):
that was let go on that show.
But I mean, like, there was a lot of nice people.
And it just seemed to be like, OK, cool.
We're in this for 10 months, y'all.
So let's just be nice.
Be cool.
Yeah.
Let's just be cool.
Well, I mean, I think that to that point, though,
anything that I've ever worked on, like my favorite shows
as opposed to the ones that I can suck a dick.
(15:22):
Yeah.
Underground season one.
I can always say that.
It's the people that you're working with.
Yeah.
100%.
And it's all about the people.
It definitely makes a difference.
And if it's not, you're in the wrong business, really.
So you know.
The hard thing about an NCIS New Orleans
is because it's very quintessential procedural,
the repetition gets to me after a while.
Yeah.
Yeah.
(15:42):
Where, and here's Chris and I can joke for a second.
It's like, I know you want a clipboard,
but who gets the clipboard?
You know?
Like, every, we started joking that the C stands for clipboard.
Because it's just like the most quintessential prop stereotype.
Oh, the C and the NCIS.
(16:02):
Yeah, yeah.
But you know, like, NCIS actually
is a perfect example of this, where in the real world,
here in modern day, everyone's switching to tablets, iPads,
things like that.
But in theatrically, we still like
to have folders with hard paperwork and clipboards
with paperwork on it and everything,
(16:23):
which is becoming obsolete in reality.
But there's something theatrical about it
that there's still this preference for it.
And I would always say, like, I mean,
I joke with my boss on NCIS that I'd be like,
when do these people have time to put these folders together
to even make these files?
Because they're always out in the field,
(16:44):
and there's clearly no helpers at this place.
So who's putting these files together?
And then he'd be like, shut up.
Stop thinking.
But yeah, there's a lot of repetition
to those kind of shows because they're so formulaic
and everything.
And just for me personally.
Even day playing on those shows, I mean, like, as costumes,
(17:04):
it was like polos and khakis and uniforms.
Right, right.
Yeah.
But it usually would be like, so as the second second,
or I'm here to normalize third AD in America.
Trailblazer.
It would be my job to go set up the crime scene stuff
and do the stuff for the background.
(17:24):
And I'm going and I'm asking Jed for the props.
And so they like props.
You guys had like some really cool stuff, right?
You know what I mean?
That would be like this intricate thing
or this latest tech and like crime scene, whatever it was.
And they'd be like, OK, Chris, you have 30 seconds
(17:47):
to go make this scene.
With 50 people.
And then I've got to go put 50 people in there in 30 seconds.
And so there was often times where it was just kind of like,
man, shit, I don't have time to do the cool thing.
But I know this one jabroni can stand over
in the corner with a clipboard.
And I know a lot of these jabroni
(18:09):
will at least be able to do something with a clipboard.
And so that was really where it came from.
And thank you for using the word jabroni.
I've been trying to bring that one back.
It's a great word.
It's so great.
You also just reminded me of something too
from some of the BG on that because we had a lot of repeat
background.
And a lot of repeat offenders.
(18:32):
There's some people who are former police
and former security types.
And they would be sure to tell you.
Oh, well, that's the thing.
On more than one occasion, while I'm propping out police,
let's say, and I'm taking the radio mic
and I'm going under the arm and I'm
clipping it up on the applet or whatever you call it.
(18:54):
And then a guy would go, no, no, no, they go on the right.
And then I would stop and go, well,
they go wherever the person using them technically
would be most comfortable with them if we
want to be really technical.
But for the purpose of background,
you don't want to make things too different because it
(19:15):
becomes a distraction.
So you want things to be cookie cutter in procedural world
and everything.
So thank you for the advice, sir.
I'm glad that we had this educational talk.
And then he's like, well, I was a cop for 10 years.
I'm like, OK, that's all tracking.
Thank you.
And why are you not on the force, sir?
What are you doing here for 80 bucks a day?
When's that happening?
You said had.
(19:35):
And yeah, and you're here for peanuts, actually.
You want to buy some PCP?
Wait, are you talking about boat?
I am.
But yeah, there's a convenience about them.
And then there's also just the repetition kind of thing.
(19:57):
I don't know.
Justin, do you have a favorite project?
Ooh.
Yeah, I mean, I guess I like the challenging ones as well.
So I mean, I guess probably One Night Miami
was one of the hardest ones, but also really rewarding
from a sound perspective.
So yeah, that was a lot of fun.
(20:20):
I always say Daddy's Home because it really was like,
I don't know if I've said it on air or not,
but it was like Club Med for props.
Every single thing that you kind of have marked out
on the schedule is like a to do kind of thing.
And the example that, and shout out to Twig,
(20:40):
but the example that Twig and I probably
have talked the most about is it was supposed to be a taco
night at the family house.
And we are coming prepared to do tacos six ways from Sunday.
So we're rolling out a cart that's got like every
conceivable ingredient and all these various ways
(21:01):
we can be doing it, where are they
going to be at in the prepping of it,
because they're having a conversation while it's going on.
And it's Linda Cardellini and Will Ferrell,
and they're about to do the rehearsal.
And as they're talking with the director,
Will goes, I could just grab the box of taco shells
from the cabinet.
And then Linda goes, I can just be great and some cheese.
(21:21):
And then the director goes, yeah, it's not about the food
guys, it's about the conversation.
We're like, what is happening right now?
Like, this never happens.
Normally, it's the absolute opposite,
where it's just like, wait, they'll
ask for the one item that somehow you didn't have.
Like, whoa, whoa, whoa, whoa, why do you not
have butter lettuce?
This is iceberg.
It'll be something like that.
(21:43):
Well, and sometimes it's the actors that make it great too.
Yeah, yeah.
I mean, when I did Keanu.
Which looked like a lot of fun.
Oh my god.
It was a blast.
It was a blast on screen, and it was a blast off screen,
because it was like a family.
Well, in the comedies, usually comedies
do well, because you want to have a good atmosphere.
(22:04):
It was so much fun.
I mean, we would party like crazy.
That's fun.
Yeah, it was a lot of fun.
You got Tiffany Haddish.
Well, I went to see Magic Mike with Tiffany Haddish,
and the director also came.
And so I'm in between the two of them.
And seeing Magic Mike with Tiffany Haddish, best
experience of ever.
(22:25):
It was so much fun.
That sounds awesome.
Yeah, I mean, I actually.
That should have been live streamed.
That sounds fun.
Oh my god.
It was amazing.
I ended up taking Gegan up and his brother on 4th of July
to see Big Sam's Funky Nation.
And we ended up at Big Daddy's at one point,
and ended up at Waffle House at 6 o'clock in the morning.
(22:48):
I mean, Big Daddy's is not a strip club.
Is it not?
No, it's not.
It's the one across from what used to be Mee Mee's.
Yeah.
It's a shady little dive bar.
It's a very shady dive bar.
What am I thinking about from Bourbon Street?
And I have seen the sun, like walked out and seen the sun up
from that place more kit times than I can remember.
(23:10):
And that was one of them, actually.
So yeah, I mean, it was just fun.
We just had a blast.
Everybody was so cool.
And yeah.
Can confirm, however, there was a strip club
on Bourbon Street called Big Daddy's in the 90s.
OK, yeah.
Yeah.
Yeah.
I'm not completely crazy.
I went there with my fake ID.
We know where you're going.
When I was 15 years old and I had braces.
(23:31):
It was great.
Nice.
Nice.
Make lovin'.
So this is now we're really getting in the weeds,
and this is going to be a long time.
But I had a buddy whose name was Pier Boss.
Shout out, Pier.
And Pier, so this is 1994 technology.
(23:56):
Pier made these California IDs for us,
and we're from San Diego.
And being dumb boys from New Orleans,
he put La Jolla on there, right?
Like we lived on 12345 La Jolla Avenue.
But you said La Jolla, didn't you?
We sure fucking did.
Yeah, you did.
Because I didn't take Spanish.
(24:18):
And so we go.
That's near to Junga, right?
I will never forget.
I give this fake ID that was made on a 1994 computer,
and I give it to the bouncer at Big Daddy's.
And he goes, he's like, oh, San Diego, you boys in the Navy?
(24:39):
And we go, yes, that is right.
We are in the Navy, clearly.
And we're definitely stationed in San Diego.
And he's like, uh-huh, probably submarine warfare, huh?
And I go, yes.
I control.
You, sir, are very astute.
(24:59):
I control the button that does or does not
fire the nuclear missiles on our nuclear submarine.
It was the braces that gave you the time.
I must have that look.
Yeah, and I have braces.
That chiseled jaw.
I am 15, and I looked 12, even though I was 15.
(25:21):
Same height I am now, only about 110 pounds.
I mean, you kind of look like 15 now.
Well, I don't know.
It's a compliment.
Yeah, I know.
You're looking great.
Oh, thanks.
Looking good, Chris.
But he goes to me.
So after all of this, where he's just clearly fucking with us,
he goes, he goes, he goes, he goes, he goes, what, boys,
what's your address again?
(25:42):
And we go, 12345 La Jolla.
And he goes, it's pronounced La Jolla,
as he hands the IDs back to us.
But he's welcoming us in.
And he goes, have a good time, boys.
And then we go in.
And then literally almost immediately,
we were essentially just robbed by strippers.
(26:06):
And we had our $20 allowance.
You know what I mean?
And like, they probably spent blood in the water.
You were in there for three seconds.
They literally just, they're like, take your money out.
And we're like, OK.
And they're like, do you want to see boobs?
We're like, more than anything in the world.
They're like, give me $20.
That's my whole allowance.
They take the $20, and they're like, OK, great.
(26:26):
I think you've had enough.
And we're like, oh, this is great.
And that was my, so Big Daddy's existed.
I know Big Daddy's only because when I first moved here.
Only because.
Well, that's why I was like, I know.
I was like, I'm not crazy.
This place exists.
Long short is friends that I had made through school
(26:48):
that while we were down here, we're in a big group.
And somebody's relative, I don't remember now,
it was not Big Daddy, but it was someone that worked there.
So it was under the guise of we can go and get free drinks.
And most of us aren't 21.
And so it was like, OK, great.
(27:08):
So I had a fake ID that I got when I was 16
that I had a hemp necklace on with a little glass mushroom
thing.
Perfect.
You mean like this?
Yeah.
Exactly like that.
Very standard for a 23-year-old at the time.
(27:30):
But what I remember about that is some of the people
in our group had disappeared.
And I was like, wait, where did So-So go?
And they're like, oh, I think they went outside
because they were tripping acid.
And I was like, I'm sorry, wait, what?
I was like, they came to a strip club on acid.
(27:52):
And they're like, yeah, I know, idiots, right?
And so I was like, OK, so now I'm fucked the strip club.
I want to find them.
I feel like there are worse places to do that.
It's true.
Family reunion.
Magnolia projects.
When they were still around.
Yeah, sure.
But I went outside, and there were three in a row.
(28:15):
All three guys are just sitting on the curb
outside of the strip club.
And they're just so stuck in their little world.
And they're all staring down at the same spot,
probably talking about something of great significance
on the ground.
Of course.
They were just seeing boobs in the concrete.
There's like 16 boobs in this concrete.
There's so many boobs.
(28:35):
But that's my big daddy.
Yeah.
Dude, it had the legs that came out.
Oh, is that it?
Yeah, yeah, yeah.
Isn't that Rick's cabaret now?
I don't know.
Sure.
But I don't know.
The only reason why I know that.
No, I'm just kidding.
No, I do know.
I do remember the legs.
And y'all been listening to Strip Club Corner.
(28:56):
And wow, we went off on a real tangent there.
That was a tangent.
So let's see.
Getting us back on track.
Just shaking his head at us.
The next question I'm going to read on here.
Let's do, oh, let's, well, kind of sort of going back to NCIS
a bit, but in general.
Do you guys really eat a lot of good food on sets,
(29:18):
ask Quincy.
Should we talk about craft service or catering or both?
I mean, we could, yeah, both.
Why not?
We eat like hobbits.
Like, I mean, essentially, it's like you've
eaten a breakfast that's way more than you would ever
eat at your own home.
Oh, yeah, for sure.
Where it's like you went and had a custom omelet
made for you while you're also getting like.
Stuff off the line.
(29:39):
Right, right.
And bacon.
Yeah.
And like a juice.
Yeah.
And like coffee.
Yeah, and then you go to the truck.
You're like, I'm going to need some huevos rancheros as well.
And then I feel like less than two hours later,
there's second breakfast, AKA a snack.
And the snack is like, NCIS was the worst,
because it'd be like, snack is like jambalaya.
(30:00):
And it's like, no, this is a meal.
It was a meal.
Yeah.
This isn't a snack.
Who was the gator on that?
Was it Gator?
No, no, no, no, it was Mike.
Yeah, no, shout out to Mike.
We should get him on.
He would be a good craft service rep.
But yeah, I mean, I think it's how, at least the guys,
it's how we get our shape, where it's like everyone's
(30:21):
broad-shouldered and fat-legged with bellies.
I mean, because we heavy lift, and then we eat like 400 pounds
of food every day.
So.
Yeah.
Well, I mean, it also depends on the show.
I mean, there have been many shows where I'm like,
this is like a 10-year-old boy's wet dream,
this craft service, right now.
Oh, yeah.
It's just all sugar and crap and chips and sodas.
(30:43):
Pizza.
You know?
Yeah.
Oh, and then you'll go to like, oh, that's the best or worst,
actually.
But it's like, you're on one show, and it's awesome.
And then you leave the next, you know,
and go to your next job, where maybe it's
a completely different budget, completely different group,
and everything.
And maybe that show sucks.
And so you find yourself in this spoiled world, going like,
(31:05):
what do you mean there's no second breakfast?
What, I got to eat these peanuts?
You know, like, oh, come on.
And then you think about how over the pit you are.
Well, also, like, having to buy groceries now
that we're not working, it's like, what?
Oh, yeah.
Although, I mean, I will say that if I'm actually
giving a shit about my health, which comes and goes,
but I will meal prep and not eat all the stuff on set.
(31:28):
Because it is, as you said, a very easy way
to pack on the pounds.
Because you're sitting around a lot, too.
There's a lot of inactivity.
I mean, there's like spurts of major activity.
But you're sitting around a lot.
Have you all ever been on a show where a security guard did not
have six to-go boxes that they have put together?
Never.
Never, never, ever.
(31:48):
It's a requirement.
It's always a security guard.
Part of the job.
I don't know why.
But like, I will say that one of the best indicators
of what the budget of the show is
is by how good the food is.
That's true.
And if the food is really good, that show's got a lot of money.
And there's a big budget.
(32:08):
And if the food sucks, there is not a lot of money on that show.
Although, I've worked on shows that have the money
and are just not cheap.
Yeah, it happens.
Yeah.
So it comes and goes.
Sometimes we do have good food, and sometimes it's garbage.
There's also a couple of not-so-great caterers.
(32:29):
There's that, too.
That's true.
And usually, things have to be really busy for them to crop up.
So not an issue right now.
Not an issue right now.
Yeah.
A veritable pick of the litter.
Have you all ever heard this before?
Any Canadian listener can confirm, hopefully.
But I heard that in Canada on longer shows,
(32:51):
like maybe a TV series or something,
that they switch caterers out halfway through to keep things
kind of fresh.
No offense to the first caterer, but it's just a way
to kind of keep the repetition from getting full.
I mean, it does kind of get old.
Which is kind of like the idea.
That's a good idea.
That is a good idea.
Our last real question that I'm going to read here,
the question is, who gets to be in charge
(33:11):
when there's crossover between departments, asks
at PitneyNY1223?
And I think, if I'm following this correctly,
it's not that someone takes point, necessarily,
as much as it's a team effort.
Yeah, I mean, ideally, there's some collaboration.
But your collective boss would still be your boss.
(33:34):
Like, if I had crossover set deck,
the production designer is still our boss.
I think it would be of that nature,
if I'm following that correctly.
But we have a ton of crossover.
Yeah, I mean, it's kind of a, it's not
a very specific question.
(33:54):
I get where you're going with it.
I'm trying to answer it the best way I can.
If you and I had crossover.
Right, which we do a lot, like with bags and purses
and things like that.
In that situation, a costume designer
trumps a prop master, typically.
So if there was someone who wanted
to have a trumping opinion, I guess
you could put it in a hierarchy like that.
But it depends on what the question is, though, too.
(34:15):
What the issue is, I feel.
Yeah, because if I'm crossing over with you guys,
it's more about some technical issues, right?
Yeah.
You're usually wanting us to be quiet.
Well, as a costume designer would sound, though, too.
Like you and I would wear very.
Noisy shoes.
Yeah.
Yeah, like high shoes.
Or just like where it goes and what, you know.
(34:38):
I mean, ideally, everybody's happy.
If they sound good, they look good.
Yeah, it's rare that we have to go to the person in charge.
Yeah, no, that's an on the fly with the sound,
you know, the utility person usually, right?
Yeah.
Wires and then, you know, whatever
costumer is taking care of that actor that's being wired.
(34:59):
So.
Is it true that costumes, technically,
can veto a look in hair and makeup?
Is that true?
Again, I think hair and makeup usually gets their way.
But I mean, I feel like ideally, again, there
(35:20):
is a collaboration and they build a look together.
Because, you know, I mean, clothes make a big difference
and hair makes a big difference.
And if they're not telling the same story,
then somebody's doing something wrong.
Right.
You know what I mean?
So hopefully, ideally, there will be give and take.
And sometimes there is the director
that will interject if necessary, too.
(35:43):
You know what I mean?
So are you telling me that Jed's hemp necklace that he
had when he was 23 that tells a specific story?
Oh, yeah.
About how I was truly 23.
Especially with the glass mushroom.
And not 16 at all.
Yes, it definitely tells a story.
It was not 1995.
(36:04):
Nice.
I can think of like a props, costumes example.
Because a lot of times, because a question that we do get a lot
is where the lines are between props and costumes,
where we do have a lot of gray area.
And the way I usually explain it is
does the item transcend costumes?
(36:27):
If you think of a school backpack,
but you can wear multiple outfits.
So it's going across several costumes.
So that's typically what keeps it a prop.
But at the same time, purses are usually on costumes.
Exactly.
Because that's usually matching to a specific look.
And with that said, this is where
you can get into the costume designer having
(36:49):
an opinion that would trump.
So we do sunglasses, for example.
Because the sunglasses, you would normally say,
could go across several outfits.
But if a costume designer likes a specific pair
on a specific actor with a specific look,
then that's where they're putting their two cents
in and say, I would like to have this for this look.
(37:09):
And that's where it's sort of, we're still
wrangling it typically.
But it's been decided by costumes
to go in with a specific look.
And usually, jewelry is also a weird thing.
You guys do watches and wedding rings.
Because they cross over.
Because they cross over.
Right.
But earrings and necklaces, unless the necklace is a prop.
(37:31):
Right.
Because it could be.
So it just depends what the necessity is.
It depends on the item, on the scenario, on the show,
on the director, on the designers.
Like, yeah, it all depends.
But there is crossover.
Collaborative, I guess, would be the way to answer the question.
(37:53):
Correct.
Ideally, collaborative nature is ideal.
I think maybe the question assumes that there's
some sort of dispute, though.
Ooh.
Well, again, I think that sometimes,
if we're talking about props and costumes, for instance,
(38:14):
it rarely comes.
I mean, it does sometimes happen.
But it really comes to fisticuffs about a frigging
backpack or something.
You know?
Do you guys think that the decision between the emerald
necklace and Titanic, it was between that or Jed's?
(38:35):
It was a diamond.
It was a blue diamond, by the way.
Was it?
Yes.
All right.
It was a precious stone.
But that's a blue diamond?
That's very pretty.
I'm trying to remember right now.
The company that sells nuts?
Now we're talking about.
Like Smokehouse?
Yes, yes.
Blue Diamond.
If you're lucky, that's like your Cracker Jack
prize at the bottom of the bag.
Which, staple at craft service.
(38:56):
Blue Diamond.
That's Lou Diamond Phillips.
Blue Diamond Phillips?
Yeah, that's his nut company.
Shout out Lou.
Shout out Blue Lou.
And your nuts.
And his nuts.
World famous.
Yeah.
I just remembered there was an alternate ending
to Titanic we didn't talk about.
(39:17):
But oh well.
Spoiler, it was not the one they used for a reason.
It was terrible.
So that's the last of the legit questions that I have on here.
I included one sort of goofy question.
Because throwback to when we had our dialect coach on,
(39:40):
I got tripped up in the episode because they
started talking about transatlantic accents.
And I think in the episode I said,
wait, what's a transatlantic accent?
And everyone's kind of collectively doing the like,
yeah, what do you say?
And then I don't know why I had the brain fart.
But later one of my friends who has
listened to some of the podcast, he was like,
(40:00):
how could you possibly not know what a transatlantic accent is?
And I was like, I did know what it was.
I don't know why I spaced out.
So I'm accepting that I'm calling myself out
that I totally had a brain fart.
And yes, I do know what it is.
But that's to my friend John, who was calling me a dumb dumb.
So that said, this is our first mailbag.
(40:23):
And I think that was not terrible.
And I went off on a few tangents.
Hey, you know what?
If there's a time for tangents, it is.
It's mailbag time.
Yeah, or pretty much every episode we do.
Yeah, yeah, yeah.
So I'm just going to close out saying thank you, everyone.
Please keep them coming.
The more you send us, the more often
(40:44):
we can do these fun little sides.
Then you can also be the cool guy at work
come Monday when you can brag that you
are acknowledged on a podcast.
Endless perks, everyone.
Anyway, we really appreciate it.
So let's get out of here.
And this is where Zoe does her thing in three, two, one,
and Zoe.
Do you like what we're doing here?
Do you have thoughts, comments, questions?
(41:07):
Maybe you have an idea or suggestion for topics
you want to hear about.
Well, you can find us on the intrawebs.
You can email us at filmfolklorepodcast at gmail.com.
You can find us on the social medias, Instagram,
the Film Folklore Podcast.
We have a Facebook group called Film Folklore, Twitter,
(41:28):
X, whatever you want to call it, at the Film Folk.
And yeah, thanks for joining us today.
Sweet.
Thanks, everybody.
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